Creative Thinking with Mock-ups

I'd like to share some of our creative and technical process at FX WRX in the hope that it might help others in their own process. Our studio is focused on in-camera effects cinematography. Much of our work involves figuring out the practical setup, scale, and approach to each project before production can begin. This pre-production stage is where the creative and technical considerations begin to come together for the first time. It's also an opportunity to shake things up and to discover new possibilities.

Because we are working primarily with in-camera effects, we often use practical models and mock-ups to figure things out. I personally find a lot of value in physical mock-ups because of their tactile nature. A model brings people together around an idea by making abstract concepts real, and allowing spontaneous hands-on collaboration. I can even do real lens and lighting tests with mock-ups, which go beyond anything I could simulate digitally. Having a physical representation offers helpful perspective for creative thinking. I hope you will enjoy seeing these examples of how mock-ups are used in our work and that this will spark something for your own process.

This is a simple blocking model for THE BALLAD OF BUSTER SCRUGGS directed by Joel and Ethan Coen. It shows a motion control crane, a tight camera angle, the position of the subject (a book on a table), and where the talent and crane operator will sit. Because each of these things are shown all at once and in relative position to each other, this little set of blocks saved me a whole lot of time. It allowed me to cover many considerations at once in talking over the setup with the whole team. It also allowed everyone to offer their input from the same starting place. It's simple but that's the value here-- my little box of blocks never needs a firmware update. Link to full project: https://fxwrx.com/busterscruggs/

Working on this LEGO STAR WARS project took practical blocking to a whole new level for us. The models became the subjects, and our lens tests became a way to mock-up the entire set. Before the miniature sets were built, we were able to see the look and feel of the lens as well as the relative scale of the sets. This allowed all departments to know how big the sets would need to be, how post VFX would work with a given shot, and what the field of view would be for each key shot.

The top frame (at right) shows the camera's POV with our probe lens. The bottom frame (at right) shows the same setup with yellow bars marking the angle of view across the set and a series of additional scale markers (each at 12" intervals). All of this allowed the creative and technical teams to align around the look and feel of each shot as well as what the actual logistics would be.

Link to full project: https://fxwrx.com/lego-star-wars/

Mock-ups also play a role in in-camera effects testing for us. Part of our work on THE PASSAGE, with FOX Broadcasting, involved capturing in-camera optical and lighting effects for moving portraits of live-action talent. We wanted to make sure we would be able to achieve the creative goals and engineer a system that made it all manageable on-set while working with the stars of the show.

Working in our studio, we constructed a variety of moving light rigs and motorized optical effects. All of these could be manipulated live and in-the-moment which allowed us to respond to each actor's performance and body language. Here our process involved working with a mannequin to test and develop each part of the overall setup. Having a practical model standing at attention allowed us to try, and try again, to find the best solution to a myriad of technical challenges. Most importantly, this type of mock-up testing allowed us to discover all sorts of happy accidents which we could never have anticipated. These discoveries could then be incorporated into our work on-set with the actors in a much more time-efficient manner.

Link to full project: https://fxwrx.com/the-passage/

I hope this look at how we use mock-ups will inspire others to look at their own creative process in new ways. Collaboration and sharing are a big part of our work. Physical mock-ups are a wonderful way to bring people together and ideas to life. Makers gotta make!

Christopher Webb, VES

Cinematographer & Technical Director FX WRX