Previz, explained.

Previz, short for previsualisation, is building your shots and sequences in 3D before you shoot them. Inside a realtime engine (we work in Unreal Engine) we block actors, cameras, lenses, lights and sets on a digital twin of your location, so you can see the film, and solve it, before anyone is on the clock.

Storyboards are drawings. Animatics are drawings in time. Previz is a 3D world, built to scale, with real camera and lens data.

You can move the camera after the fact, test a 35 against a 50, check whether the crane fits, and hand the result to every department. Storyboards are now previz.

• Pitchviz sells the idea: concept sequences for studios, platforms and financiers.
• Previz designs the shots: blocking, camera, lens and timing.
• Virtual scouting lets the director and HODs walk the digital location together.
• Techviz turns approved shots into technical plans: camera positions and heights, lenses, crane and rig specs, lighting plots and measurements.
• Postviz drops temp CG into the shot plates so editorial and VFX can move before finals.

No. Action, stunts and VFX heavy work benefit the most, but any shoot with expensive days, complex locations, crowds, vehicles, water, night work or a tight schedule gains from it. OTT series and commercials use it to lock setups and schedules before the shoot.

Because problem solving on set is the most expensive way to solve a problem. Every question answered in prep, from whether the rig fits to which lens to use, how long a setup takes and what has to be built, is a question that doesn't cost you a shoot day. Previz is a game changer. The real question is why you aren't doing it.

A script or scene breakdown, your references, and whatever you have of the location: photos, plans, drone footage, or access for us to scan it. If the location isn't locked yet, we previz on a stand in and swap it later.

It depends on the number of scenes and their complexity. A single set piece can come back in days; full film previz runs alongside prep. Our 3D × hybrid AI pipeline gets first blocking passes to you fast, then we iterate as many times as you need.

Yes. In review sessions we run the scene live: you call the lens, the height and the move, and see it instantly. Virtual camera sessions can be set up for directors and DOPs who want to operate.

Production design sees what must be built versus extended. Grips see rigs and cranes in the real space. Gaffers see light positions and sizes. ADs see setups and timings. VFX sees exactly which shots need work. One sandbox, with everyone looking at the same thing. That is unlimited technical recce, with all your HODs, right in your office.

Unreal Engine at the core, with industry standard 3D tools, motion capture, LiDAR, photogrammetry and Gaussian splatting for scanning, and our hybrid AI toolset for speed.

Yes, and that is the gold mine. Camera and layout data feed techviz plans, Simulcam on set, LED volume content for ICVFX, and postviz and VFX handoffs. The work you do in prep keeps paying off right through to final pixel.

AI accelerates the parts that don't need a human hand: rough environments, look development and fast variations. The camera, lens and blocking stay in 3D, so you stay in control. That is what we mean by hybrid: AI, done right.

Yes. We capture locations with LiDAR, photogrammetry and Gaussian splatting (3DGS) to build accurate digital twins for previz, techviz and VFX. We can also work from architectural CAD and BIM data.

Yes. We're happy to work under NDA, and scripts, assets and location data stay confidential.

We're based in Mumbai and work with productions across India and internationally. Most previz runs remotely; scanning and on set support travel to you.

Every project is scoped on scenes, complexity and deliverables. Tell us what you're shooting and we'll come back with a plan and a number. A useful yardstick: compare it with the cost of one lost shoot day.