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The film relied almost solely on digital animatics as opposed to storyboards in order to pre-visualize sequences for editing early on in the film's production. While George Lucas had used other ways of producing motion-based storyboards in the past, after Star Wars: Episodio I - La minaccia fantasma (1999) the decision was made to take advantage of the growing digital technology. The process began with Ben Burtt's creation of what the department dubbed as "videomatics", so called because they were shot on a household videocamera. In these videomatics, production assistants and relatives of the department workers acted out scenes in front of a greenscreen. Using computer graphics imagery (CGI), the Pre-visualization Department later filled in the greenscreen with rough background footage. Burtt then cut together this footage and sent it off to Lucas for changes and approval. The result was a rough example of what the final product was intended to be. The Pre-visualization Department then created a finer version of the videomatic by creating an animatic, in which the videomatic actors, props, and sets were replaced by digital counterparts to give a more precise, but still rough, look at what would eventually be seen. The animatic was later brought on-set and shown to the actors and actresses, so that they could understand the concept of the scene they were filming in the midst of a large amount of greenscreen. Unlike most of the action sequences, the Battle of Geonosis was not storyboarded nor created through videomatics, but was sent straight to animatics after the department received a small vague page on the sequence. The intent was to create numerous small events that would be edited together for pacing inside the finished film. The Animatics Department was given a free hand regarding events to be created within the animatic. Lucas only asked for good action shots, from which he could choose, and approve later.

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