By the mid-1990s, digital previsualization was becoming an essential tool in the production of large budget feature film. In 1996, David Dozoretz, working with Photoshop co-creator John Knoll, used scanned-in action figures to create digital animatics for the final chase scene for ' (1996). When "Star Wars" prequel producer Rick McCallum saw the animatics for "Mission: Impossible", he tapped Dozoretz to create them for the pod race in ' (1999). The previsualization proved so useful that Dozoretz and his team ended up making an average of four to six animatics of every F/X shot in the film. Finished dailies would replace sections of the animatic as shooting progressed. At various points, the previsualization would include diverse elements including scanned-in storyboards, CG graphics, motion capture data and live action. Dozoretz and previsualization effects supervisor Dan Gregoire then went on to do the previsualization for ' (2002) and Gregoire finished with the final prequel, ' (2005).