All of this was triggered via a tablet operated by John Knoll. Barry Howell: One of the things Gareth said he liked about previs was that it gives him a solid guide to reference when he gets to set and it allows him to show other departments some of his ideas in motion to bring everyone on the same page.
These were then played back on set and sometimes combined with other elements, such as explosions or incoming laser fire.
I joined the Pinewood team once production fully shifted to the UK and we began developing previs for multiple sequences.
Asset creation continued for quite some time, longer than most projects, mainly due to the sheer volume of unique creatures, vehicles and environments that needed to be created.
The sequence was originally planned for a different type of planet so we did a couple of variations.
By the time they were shooting the LED plates, we adjusted the previs to match the desert planet setting and rendered a 360 of debris falling around the camera for them to see how that would possibly cast shadows on the actors and interior of the ship as it left.