Wes Ball’s The Maze Runner features complex maze environments and even more complex creatures – all requiring meticulous planning to bring to the screen. Previs and postvis would help the filmmakers prepare for the live action shoot in Baton Rouge, Louisiana and then aid Method Studios and other VFX shops in creating intricate visual effects shots involving the moving maze and the mechanical Grievers. We talk to John Griffith, who was previs director at 20th Century Fox on the show, and Jourdan Biziou, The Third Floor’s previs supervisor, about the film.
Griffith worked early on with Ball and his visual effects team on exploring ideas for the Glade and the Grievers, using a game engine approach. “It was the perfect film to put Crytek’s Cinebox software through its paces,” says Griffith. “I had been developing it for almost four years prior, having developed it on Dawn of the Planet of the Apes. By then the pipeline had become a very smooth process. It has sped up the process of creating previs and added a whole other level of quality and realism to the work we produce.”