FrameForge Studio has become one of the most important tools for me on set, as important as a light meter, compass, and viewfinder. With it, I am able to show a precise, real previz to the director, producer, vfx supervisors and all the other departments, showing them exactly what we'll get (and can't get!)using our camera package on virtual set.

My name is Steeven Petitteville, I am a french cinematographer working on features, commercial, short films and music videos. I've been using FrameForge 3D since version 2 for almost every stage shooting I do, using it as a virtual set.

The first time I heard of FrameForge was from a director's friend who used the very first version.

I bought my own copy when Version 2 came out and started to use it immediately. At that time, I was starting as a DOP shooting some music videos for French bands (such as Paraone, superbus, jenifer, ….) with production company Wanda in France.

As we had very little money, the production manager was pushing us to be very efficient, so I started using FrameForge with the directors to build the shoot, which was fantastic as it let us know exactly what our needs were: basically tracks length, or cranes heights, or lenses sets.

The boards allowed me to discuss the shot in a concrete manner rather than trying to describe both the shot and how we'd get it. (in this way, FrameForge is also a budgeting tool).

Then I start commercial work and some more sound stage work. Building the set on FrameForge became easier and fast as I got used to it and the tool's evolution and constant upgrades just make the software better and better every time.

By using FrameForge, it allows me to answer a lot of questions like how far do you need the wall? How high do we need to paint? Are you sure we need the whole cyclorama to be painted? :)

It's great to be sure of your answers, and to be able to show the other departments on a simple graphic why or what you have in mind.

When Version 3 came with real dolly, cranes, and cam specs, could can push the FrameForge's use even one step further because I am able to show a precise, real previz to the director and producer using the real tools on virtual set.

I can work with the VFX team and compare between their virtual moves and the constraint of our real tools.

An example of previz for set needs on a commercial for Adolfo Dominguez perfume brand shot in Barcelona on a sound stage. We got the art director's set dimensions, the VFX did their previz, but we needed to know some heights for the green screen and walls before they finished it…

So we built it in FrameForge and designed the shots with the director so we could answer the producers, art director and clients, exactly what needed to be constructed, and what didn't. In addition, I was able to figure out the green screen heights that needed to be painted and the green ceiling and when we need to move it regarding the shots.

I can go on and on forever as there are a lot more situations when it helps, as an educational tool I remember showing the different format option thru it to choose between 1:1.85 ratio or 1:2,40, as a viewfinder (what's the widest shot we can achieve), to show the equipment scale and what we can achieve or not with it…

Steeven Petitteville
Cinematographer, France