Hello everyone, Tim here, and I've got my next post from the Toronto International Stereoscopic 3D Conference (TIS3DC) that covers the Skype interview with Writer, Director, Producer Jean Pierre-Jeanet on The Young and Prodigious T.S. Spivet and the workshop with his Stereographer Demetri Portelli and 3D Production Systems Engineer Ben Gervais. At the end of this post is a repost of the trailer from our earlier post. Again news on North American distribution on the film will hopefully be coming soon.
First, the 12-minute preview we got of the film, which had unfinished color and needed some additional work, was amazing! This movie looks like it truly is a treat for fans of Jean Pierre-Jeunet. It is going to be a simply magical movie. The young lead actor playing T.S. Spivet (Kyle Catlett) was there in person for the Skype interview as a surprise for Pierre-Jeunet, and his performance in the film is quite incredible. This young man has the potential to be a big star. And although Kyle has seen 3D before, this is his favorite film yet.
Pierre-Jeunet had a stereo view-master growing up, and believes that all his previous films could have been 3D. He thought in 3D for Spivet, from the script and conception all the way through his storyboards. In his storyboards he used shadows as a means to show the 3D and did all he could to show the depth of each shot. He worked hard to avoid bad 3D with Demetri. He had all kinds of specific notes for the 3D in blue coloring to make it easier for the 3D team to know what he was thinking. Pierre-Jeunet simply had to say "3D is not for lazy people." No truer statement has ever been said. As well as Demetri's later statement: "It's important to explore the full depth."
"When I see the film in 3D… WOW! I feel pity that people have to see it in 2D." - Jean Pierre-JeunetThe movie was shot using the first ARRI ALEXA M on the Cameron | Pace rigs, and Pierre-Jeunet thought that the ARRI RAW is fantastic. He boastfully claimed "film is dead" and that he loves digital, especially because you don't have to reload the camera every 12-minutes. He only died twice because of some of the waiting on 3D: it's not easy and heavy to shoot 3D. Ben Gervais and his team did all they could to make it easier by constructing the 3D Production System on the back of a truck so that they could quickly move around. They did a full week of tests to see what would work in 3D, and Pierre-Jeunet said that "3D is experimental" and that "3D will be free when we don't need glasses." However, what Pierre-Jeunet loved was that 3D uses short lenses, and it's Pierre-Jeunet's style to shoot with short lenses. It was a match made in heaven.
They edited the film in 2D, but checked the 3D constantly, and found that they didn't have to change much to make the edit work in 3D. Ben and his team put together every shot on set for Demetri and Pierre-Jeunet to view what had been shot. This was a wonderful way for them to make sure that the 3D worked in each scene, not just for one shot, but all the shots in the scene. It created a great work-flow that helped ensure that they got what they wanted/needed. From talking with Ben it feels as though this is a method that will filter into more productions, which makes me happy to hear.
During the workshop that Demetri and Ben did on Day 4, they shared a lot of inside information about all the projects they've worked on, including more details from SPIVET. They showed the trailer for 47 Ronin, and as well spoke about that film.