Foundation Season 3 - Pre-Production

The creative challenge was as expansive as the galaxy itself. Each sequence demanded a unique creative approach, from high-speed flitter bike chases and large-scale battles to the abstract, physics-defying “Tree of Time.” 

The Flitter Bike sequence was one of the first FPS tackled, and later revisited when both the script and shooting methodology evolved, showing how previs could flex to support changing creative needs. “Every sequence we worked on was different to the last and required a different approach,” says Michelle. “The ability for us to change our camera language and style to meet the needs of a sequence was essential. We often referred to references from film to draw inspiration for the particular shot or sequence.”

The “Tree of Time” exemplified this challenge, requiring a transition from the infinitesimal scale of the Mathematica Obscura to an entire solar system in a single move. FPS devised workflows that delivered cinematic scope without unnecessary complexity, combining Maya’s Bifrost, custom particle systems, and comp-layer enhancements. “For a show like Foundation where effects are essential to the storytelling, you really need to think on your feet to come up with effective and efficient workflows,” Michelle explains.

Every creative decision was grounded in production reality. FPS carefully considered set builds, locations and equipment so that even the most imaginative sequences could be captured on the day. Working closely with VFX Supervisor Chris MacLean, the team fostered an open, collaborative dialogue where feedback was immediate and the previs artists were encouraged to experiment and push ideas further.

Large-scale action, such as the Kalgan Attack, showcased this blend of artistry and pragmatism. Using Framestore’s Capture Lab, the team recorded bespoke mocap performances to drive crowd behaviour, layering authentic movement into complex simulations.

The previs team also provided postvis, giving editorial an early guide to complex visual effects and helping production refine sequences before committing to final shots. And for conceptual sequences like the Vault’s shadow journey through Foundation Station, previs transformed abstract ideas into cinematic storytelling, making them both visually compelling and technically achievable.

What made Foundation Season 3 unique was the sheer breadth of visualisation challenges. From majestic space establishers to intimate, character-driven moments, every sequence required tailored solutions. 

“Every sequence has required us to create bespoke effects, matching the fantastic concept art we’ve received,” says Michelle.

Framestore’s Pre-Production Services helped lay the creative and technical foundation for one of television’s most ambitious sci-fi series.