We’re going to need a bigger camera
Previsualization (previs) is where static ideas begin to move, taking the first steps toward a fully realized animation. This week, the focus has been on introducing characters within previs while exploring how movement, framing, and composition can communicate emotions even without facial expressions.


A character’s posture, gestures, and the way they occupy space can reveal as much as a facial expression. A slouched figure with slow, deliberate movements can convey exhaustion or defeat, while a sharp, rigid stance suggests determination or control. Subtle shifts in weight, hesitation in motion, or the speed of an action all contribute to emotional storytelling.


Understanding camera angles and framing is another essential tool in this process. A low-angle shot can make a character feel powerful, while a high-angle shot makes them seem small or vulnerable. Close-ups of hands gripping a chess piece, tightening into a fist, or hesitating over a move can speak louder than words. Wide shots can emphasize isolation or highlight the tension between two rivals.
This stage has been invaluable for refining the pacing and intensity of the animation. Further refinements will focus on smoother transitions, stronger blocking, and ensuring each shot enhances the emotional core of the scene.