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Layout/Previs Processes From a Pixar Artist

Layout/Previs Artist Shaun Kim

Class Details

Layout/PrevisArtistShaunKim_션킴 Details


Class Intro
Layout/Previs Artist Shaun Kim

Do you want to know more
about the video production basics
and how the Layout & Previs plays a role
in the real-life media industry?

Learn the basics of video production
that are essential in making immersive animations,
advertisements, cinematics, and movies,
and apply them in a variety of videos!

An artist involved in producing global content
Get step-by-step on everything
from analyzing a script to the process of
converting it into a video format.

Take part in practice exercises that
go beyond just simple examples
on your journey to learning
the basic theories and principles
of video production. All while
geting insights into production workflow
that you won't find anywhere else.


Coloso Class Breakdown Details 1

Length: 31 videos
(09h 20m)
Difficulty: Beginner
Unlimited views

Coloso Class Breakdown Details 2
Video Details

Audio: Korean
Subtitles: English

Coloso Class Breakdown Details 3
Software Required

Adobe Premiere Pro

Coloso Class Breakdown Details 4

6 Class exercises
Sample scripts
MA files

Layout/Previs Artist
Shaun Kim's Profile & Portfolio


Shaun Kim
Layout/Previs Artist

Hi, this is layout/previs artist Shaun Kim.

I produced the title sequence for Captain America:
The First Avenger (camera production) at
Method Studios located in Santa Monica,
and my six short productions have been screened
and awarded at international festivals
including Ottawa, Hiroshima, and SIGGRAPH.

Since 2012, I have participated in
more than 10 animated features at Pixar,
including Soul, Coco, Toy Story 4, and Finding Dory and now,
as the first Korean lead layout artist,
I am in charge of various projects.

In this class, I will let you know
how to implement video production
in a systematic way,
which is one of the most important elements
in delivering a story to the audience
through digital video.

Background images
Coloso Shaun Kim
Layout/Previs Artist
Shaun Kim

Pixar Animation Studios Lead Layout Artist
SKIMATION Director & Founder

EA Game Innovation Lab Lead Artist
JCE Game Cinematic Director and Animator
VOOZ Lead Animator
Sieun Design Animator

Projects & Awards

Pixar – Layout Artist
Monsters University, Good Dino, Finding Dory, Coco, Soul, Incredibles 2, Toy Story 4, Luca, etc.

Pixar – Director of Photography
Float (short)

Pixar – Lead Layout Artist
Win or Lose (2023)

Method Studios
Captain America Title Sequence - Camera production

New World Symphony
A short production for Ballet of Unhatched Chicks

In charge of YouTube channel Skim on West
Invited to world-class film festivals such as SIGGRAPH, Hiroshima, and Ottawa Multiple online/offline lectures
Involved in numerous digital video production projects

In-depth Class Exercises

Part 01. Theoretical Examples

Learn how to apply the theory of cinematography,
a basic essential skill in the film & video industries,
to digital photography production.

Part 02. Practice Examples

Based on what you learned earlier, you will practice
with the exact pipelines that are used in the field using Maya.


Class Highlights

Learn Essential Video Production Theories

We will discuss the theories, along with appropriate examples, that you will use for a lifetime in all fields of video-related business, such as shot types, lens usage, the 180-degree rule, and types of camera movement.

Coloso Shaun Kim Introduction

The Key to Layouts/Previs and Creating a Portfolio

We will talk in detail about the process of selecting the right story to create a portfolio specialized for camera production, as well as how to use assets that are easily available on the internet.

Coloso Shaun Kim Introduction

Discover a Work Pipeline Optimized for Digital Video Production

We will try to produce a sample video with exactly the same workflow as in actual camera production, and you will learn about the technical aspects of creating camera movements that look professional.

Coloso Shaun Kim Introduction

Class Details
You'll Learn

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In-depth Look


01. Prologue

  1. Overview of the class
SECTION 02. Scenario Selection and Analysis

02. Theory 1: Production Pipeline

  1. Layout/Previs production pipeline

03. Practice 1: Determining a Story

  1. Scenario criteria for layout portfolio
  2. How to find a scenario

04. Theory 2: Aspect Ratio

  1. Meaning of different aspect ratios for each video

05. Practice 2: Scenario Analysis

  1. Understand scenario terminology and create an asset list
  2. Camera & character movement plan

    *Includes sample files

06. Theory 3: Basic shot types

  1. Concepts of shot, sequence, and act
  2. Type of basic shot

07. Practice 3: Prepare assets

  1. Download free background/prop assets
  2. Download free/paid characters and set up Anim Picker

    *Includes sample files

08. Theory 4: Precautions for taking basic shots

  1. Avoiding tangents
  2. Leaving space in the direction of the gaze

09. Practice 4: Start a storyboard

  1. The role of the storyboard
  2. Review and revise a sample video storyboard

    *Includes sample files
SECTION 03. Create a Storyboard and a Storyboard Reel

10. Theory 5: Camera Plan

  1. Concept of camera planning

11. Practice 5: Create a Storyboard Reel

  1. The role of the storyboard reel
  2. Edit a sample video storyboard reel

    *Includes sample files

12. Theory 6: The Meaning of Camera Position

  1. Meaning of a scene that changes depending on the camera position

13. Practice 6: Preparing for a Location Scout

  1. How to use the camera rig
  2. Set up a master shot

    *Includes sample files
SECTION 04. Produce Location Scout

14. Theory 7: Understanding the Camera Lens

  1. Features of wide-angle, telephoto, and standard lenses

15. Practice 7: Location scout production

  1. Things to know in location scouting
  2. How to produce a location scout
  3. Set up a minus crane camera

    *Includes sample files

16. Theory 8: The 180-Degree Rule

  1. The 180-degree rule to keep the viewer's sense of direction constant

17. Practice 8: Preparing a Shot Build

  1. Review the final version of a sample video location scout
  2. Copy location scout data for each shot
  3. How to set shot naming and shot length

    *Includes sample files
SECTION 05. Shot Building

18. Theory 9: Types of Camera Movement

  1. Types of camera movement such as pan, tilt, track, crane, handheld shot, etc.

19. Practice 9: Shot Building in practice

  1. Type of coverage shots to produce
  2. Learn the techniques of master shot & coverage shot

    *Includes sample files

20. Theory 10: Factors that draw the audience's attention

  1. Visual elements such as contrast, the rule of thirds, and silhouette enhancement

21. Practice 10: Practical composition tips

  1. Composition elements, such as eyeline and headroom, are checked until the end of practice
  2. Review the revision of a sample video shot build

22. Theory 11: Types of Contrast

  1. Contrast in color, complexity, movement, and brightness to draw the audience's gaze

23. Practice 11: Natural Movement of Digital Camera Part 1

  1. How to make the tracking movement follow the subject natural
  2. How to set up the camera for shots that require complex camera movements
SECTION 06. Create and Edit Natural Camera Movements

24. Theory 12: Types of Cut Editing

  1. Content cut, action cut, POV, jump cut, match cut, crosscut, sound cut, etc.

25. Practice 12: Natural Movement of Digital Camera Part 2

  1. Try making a 'Vertigo' shot
  2. Counter tracking shots and how to set up the camera on a car

26. Theory 13: Techniques for Maintaining Audience Interest

  1. Show only partial information, give breathing room, etc.

27. Practice 13: Edit and Present Layout Shots

  1. Edit shot builds
  2. Types of presentation of layout work

28. Theory 14: Camera Polishing Reel

  1. Concepts and practical examples of camera polishing

29. Practice 14: Good Layouts/Previs

  1. Analyze the portfolios of artists who joined Pixar's Layout Department in 2020
SECTION 07. Components of a Good Layout Reel

30. Theory 15: Cinematography of the Future

  1. Example of LED wall shots used in ‘The Mandalorian’
  2. Example of gravity using a full previs camera
  3. The future where Pre-vis and layout shooting become important

31. Practice 15: How to find jobs related to layout/previs at home and abroad

  1. Introducing domestic and foreign websites for your job search
  2. How to use Glassdoor when preparing for an overseas interview
  3. Why LinkedIn is essential

with Layout/Previs artist
Shaun Kim

Background images
What are the prospects for
digital video production?

Digital video production is the process of planning and realizing what form of video should be used to deliver the story in digital video, so that the audience can better digest the story or receive a stronger impact. It may be a blue ocean as there is an increasing use of VFX in the media field and an increasing demand for layouts and previsualization.

What are your strengths
as a layout/previs artist?

Although there are various theories on cinematography for movies, there seems to be only a handful of people in Korea who are familiar with how to apply them to digital images. Since I have an experience of leading a team at Pixar, a top-notch global company in the field of digital video, I think I will be able to talk about not only the tricks and tips for high-quality video production, but also the work method in which other departments are considered and the qualifications of the applicants that previs/layout departments are seeking.

What are the main points
in this class?

Since video production-related fields such as storyboarding and layout are hardly affected by new technologies or software, it is important to have solid basics in video theory. Therefore, the curriculum is structured so that you can get familiar with both theory and practice as well as how to analyze images from various angles.

Who would you recommend
this class to?

This class will be very helpful for the following people: Beginners in digital photography and production, and animators working on layouts in the field, as well as those who are curious about the workflow that enables smooth communication between the storyboard department and the animation department, and directors who want to expand their shooting skills not only in real-time filming but also in digital imaging.

Required Programs

Software Required
– Maya
– Adobe Premiere Pro

* Any version can be used in class.
* In class, it is fine to use Soft Image, Blender, 3ds Max, cut editing programs, etc.
* Programs and materials are not provided separately.

Maya Premiere Pro

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