Fantastic Week At The Advanced Imaging Society and VR Society Lumiere Awards!

Dignitaries on the red carpet, including Jim Chabin, Ed Bedley Jr., Ivan Reitman, Jon Favreau and Roy Taylor

The Advanced Imaging Society and VR Society held their 8th annual Lumiere awards last week and year after year they always seem to one up the previous! This year was no exception at the completely filled venue at the Stephen J. Ross Theater on the Warner Bros. Studios' backlot.

I was blown away by the VR (virtual reality) demonstrations that were set up for attendees to try. Simply amazing content and we've only just begun in the space! Trust me, if you haven't seen some of these cinematic VR experiences - do it. And the Google Tilt Brush was the icing on the cake. Again - you have to experience VR to appreciate it. No amount of hype or traditional media will probably prepare you for it. You just have to try it!

Native 3D Wizards Ben Gervais and Demetri Portelli

On the Advanced Imaging Side of things, I have to make special mention of Ang Lee's BILLY LYNN'S LONG HALFTIME WALK. The native 3D team of Demetri Portelli and Ben Gervais continues to lead the world by example with their superlative work in native 3D (shot optically - not converted in post). It is a technological first for cinema with its first ever use of combined 3D, 4K, 120fps framerate, but more importantly - it works. Another masterpiece for Ang Lee. A Lumiere well earned for Demetri and Ben!

Further, I'd be remiss if I didn't mention the stellar 3D conversion and visual effects in Marvel's DOCTOR STRANGE. You know what I mean don't you? That astral plane projection scene - or the folding city scenes? Jaw dropping! Congratulations to Marvel Studios on your Lumiere.

I'm proud to be a recipient of Lumiere for last year's 40 BELOW AND FALLING (with an amazing crew and team) and honored to vote for this year's group of hopefuls. Let's take a look at the category nominees and winners:

3D Feature – Live Action
Assassin’s Creed – 20th Century Fox
Batman v Superman: Dawn of Justice – Warner Bros.
WINNER: Billy Lynn’s Long Halftime Walk – Sony Pictures Entertainment
Captain America: Civil War – Marvel Studios
Doctor Strange – Marvel Studios
Fantastic Beasts and Where to Find Them – Warner Bros.
Miss Peregrine’s Home for Peculiar Children – 20th Century Fox
Rogue One – Walt Disney Studios
Star Trek Beyond – Paramount Pictures
Suicide Squad – Warner Bros.
Teenage Mutant Ninja Turtles: Out of the Shadows – Paramount Pictures
The BFG – Walt Disney Studios
The Legend of Tarzan – Warner Bros.

Stereography – Live Action
Assassin’s Creed – 20th Century Fox
Batman v Superman: Dawn of Justice – Warner Bros.
Billy Lynn’s Long Halftime Walk – Sony Pictures Entertainment
Captain America: Civil War – Marvel Studios
WINNER: Doctor Strange – Marvel Studios
Fantastic Beasts and Where to Find Them – Warner Bros.
Miss Peregrine’s Home for Peculiar Children – 20th Century Fox
Rogue One – Walt Disney Studios
Star Trek Beyond – Paramount Pictures
Suicide Squad – Warner Bros.
Teenage Mutant Ninja Turtles: Out of the Shadows – Paramount Pictures
The BFG – Walt Disney Studios
The Legend of Tarzan – Warner Bros.

Packed house at the 2017 Lumieres - Jon Favreau seated at left; Ed Begley Jr. seated at right (Photo credit unknown)

3D Feature – Animated
Finding Dory – Pixar
Ice Age: Collision Course – 20th Century Fox
Kubo and the Two Strings – Focus Features
Kung Fu Panda 3 – DreamWorks Animation
Moana – Walt Disney Studios
Resident Evil: The Final Chapter – Sony Pictures
Sing – Universal Pictures
Storks – Warner Bros.
Teenage Mutant Ninja Turtles: Out of the Shadows – Paramount
The Angry Birds Movie – Sony Pictures
The Great Wall – Universal Pictures
The Legend of Tarzan – Warner Bros.
The Secret Life of Pets – Universal Pictures
Trolls – DreamWorks Animation
WINNER: Zootopia – Walt Disney Studios

Stereography – Animated
Finding Dory – Pixar
Ice Age: Collision Course – 20th Century Fox
WINNER: Kubo and the Two Strings – Focus Features
Kung Fu Panda 3 – DreamWorks Animation
Moana – Walt Disney Studios
Resident Evil: The Final Chapter – Sony Pictures
Sing – Universal Pictures
Storks – Warner Bros.
Teenage Mutant Ninja Turtles: Out of the Shadows – Paramount Pictures
The Angry Birds Movie – Sony Pictures
The Great Wall – Universal Pictures
The Legend of Tarzan – Warner Bros.
The Secret Life of Pets – Universal Pictures
Trolls – DreamWorks Animation
Zootopia – Walt Disney Studios

Outstanding Use of 2D to 3D Conversion
Assassin’s Creed – 20th Century Fox
Batman v Superman: Dawn of Justice – Warner Bros.
Captain America: Civil War – Marvel Studios
Doctor Strange – Marvel Studios
Fantastic Beasts and Where to Find Them – Warner Bros.
Miss Peregrine’s Home for Peculiar Children – 20th Century Fox
WINNER: Rogue One – Walt Disney Studios
Star Trek Beyond – Paramount Pictures
Suicide Squad – Warner Bros.
Teenage Mutant Ninja Turtles: Out of the Shadows – Paramount Pictures
The BFG – Walt Disney Studios
The Legend of Tarzan – Warner Bros.

3D Short
Panda Paws – DreamWorks Animation
Piper – Pixar
The Early Hatchling Gets the Worm – Rovio Entertainment
WINNER: Inner Workings – Walt Disney Animation Studios

High Dynamic Range – Live Action
10 Cloverfield Lane – Paramount Pictures
13 Hours – The Secret Soldiers of Benghazi – Paramount Pictures
Alice in Wonderland: Through the Looking Glass – Walt Disney Pictures
Batman V Superman: Dawn of Justice – Warner Bros.
Billy Lynn’s Long Halftime Walk – Sony Pictures Entertainment
Captain America: Civil War – Marvel Studios & Walt Disney Studios Motion Pictures
Deadpool – 20th Century Fox
Deepwater Horizon – Lionsgate
Doctor Strange – Walt Disney Studios
Fantastic Beasts and Where to Find Them – Warner Bros.
For A Few Bullets – Wanda Pictures
Force 2 – Viacom 18
Hardcore Henry – STX
Independence Day: Resurgence – 20th Century Fox
Inferno – Sony Pictures Entertainment
Jack Reacher: Never Go Back – Paramount
L.O.R.D (Legend of Ravaging Dynasties) – LeVision
La La Land – Lionsgate
WINNER: Live By Night – Warner Bros.
Miss Peregrine’s Home for Peculiar Children – 20th Century Fox
Now You see Me 2 – Lionsgate
Pete’s Dragon – Walt Disney Studios
Star Trek 3: Beyond – Paramount
Suicide Squad – Warner Bros.
The BFG – Walt Disney Studios
The Divergent Series: Allegiant PT.1 – Lionsgate
The Jungle Book – Walt Disney Pictures
The Legend of Tarzan – Warner Bros.
Warcraft – Legendary Pictures & Universal Pictures
X-Men Apocalypse – 20th Century Fox

High Dynamic Range – Animated
WINNER: Finding Dory – Walt Disney Studios
Ice Age Collision Course – 20th Century Fox
Kubo and the Two Strings – Universal Studios
Moana – Walt Disney Studios
Teenage Mutant Ninja Turtles: Out of The Shadows – Paramount
Zootopia – Walt Disney Studios

Virtual Reality Categories

VR – Gaming
A Chair in the Room: Greenwater – Wolf & Wood
Accounting – Squanchtendo with Crows Crows Crows
Batman: Arkham VR – Warner Bros. Interactive Entertainment
Battlezone – Rebellion Developments
Chronos – Gunfire Games
Eve: Valkyrie – CCP Games
WINNER: Job Simulator – Owlchemy Labs
Raw Data – Survios
Space Pirate Trainer – I-Illusions
Star Wars Battlefront Rogue One X-Wing VR Mission – DICE & Criterion Games
The Gallery – Episode 1 Call of the Starseed – Cloudhead Games
The Lab – Valve Corporation

VR – Film Experience
Fantastic Beasts – Warner Bros., Google, Framestore VR Studio
WINNER: Ghostbusters VR Experience – Sony Pictures Entertainment, The Void
Star Wars: Trial on Tatooine – ILMxLAB
Suicide Squad: Special Ops VR – Warner Bros., Mob Scene & Atlas Entertainment, MPC VR & Legend 3D
The Jungle Book – Through Mowgli’s Eyes Part 1: Trust in Me – Walt Disney Studios & Tangerine Apps
The Martian VR Experience – 20th Century Fox, Fox Innovation Lab, RSA Films, The Virtual Reality Company

VR – Animation & CGI
Allumette – Penrose Studios
Apollo 11 VR Experience – Immersive VR Education
WINNER: Dear Angelica – Oculus Story Studio
Gnomes and Goblins – Jon Favreau, Wevr, Reality One
Grace – MacInnes Scott
Home: A VR Spacewalk – BBC & REWIND
Pearl – Google Spotlight Series
The Night Cafe: A VR Tribute to Vincent Van Gogh – Borrowed Light Studios
The Starry Night – Shanghai Media Group
theBlu – Wevr
Volt: Chain City – Vive Studios
Wide Awake President Trump VR Experience – MacInnes Scott

VR – Live Action
A Challenge – Brigantine Films
Cirque du Soleil, KÀ – Felix & Paul Studios
Knives – Adam Cosco
My Brother’s Keeper – PBS Digital Studios
WINNER: Nomads: Sea Gypsies – Felix & Paul Studios
Perspective Ch. 2: The Misdemeanor – Specular Theory & Rose Troche
The Harvest – Chapman University & AMD
The Mule – Dark Corner Studios
Through the Ages: President Obama Celebrates Americas National Parks – Felix & Paul Studios
VR Noir: A Day Before the Night – StartVR

VR – Episodic Content
Gone – Wevr & Skybound
Halcyon – Syfy (produced by Secret Location)
WINNER: Invisible – Doug Liman, 30 Ninjas, Condé Nast Entertainment (CNÉ), Jaunt VR, Samsung

Winner, VR - Documentary: THE CLICK EFFECT

VR – Documentary
A History of Cuban Dance – Lucy Walker
David Attenborough’s Great Barrier Reef – Atlantic Productions & Alchemy VR
Defying the Nazis VR – LIFE VR
Rhinos on the Move – Discovery VR
WINNER: The Click Effect – Annapurna Pictures & Here Be Dragons
The Edge of Space – KonceptVR

VR – Journalism
Calais: The Jungle – Sky News
Chernobyl 30 Years Later – ABC News VR
Defying the Beast – World Vision & Koncept VR
Great Performers: L.A. Noir – New York Times VR
Out of Exile: Daniel’s Story – Nonny de la Peńa & Emblematic Group
Remembering Pearl Harbor – LIFE VR
Struggle for Survival in the Devastated City of Aleppo – CNN
WINNER: Take Flight – New York Times 
“Toxic Tour” 360 – Oil Exploitation in the Ecuadorian Amazon – Huffington Post RYOT
Valen’s Reef – Vice

VR – Sports
360 Rio 2016 Olympics VR – BBC Sport
Closer (featuring David Beckham) – Sky VR & Sky Sports
Experience the Rio Olympics in Virtual Reality – NBC Olympics & Samsung
WINNER: Follow My Lead: The Story of the 2016 NBA Finals – Oculus & m ss ng p eces
NFL Immersed – Episode 1: Eagles Defensive Line – NFL Immersed & Two Bit Circus
NFL Immersed – Episode 4: Melvin Gordon & the Chargers Game Day Prep – NFL Immersed & Two Bit Circus

VR – Music
WINNER: Joshua Bell VR Experience – Sony PlayStation
Kygo: “Carry Me – The VR Experience” – Sony Music
OneRepublic: “Kids” – MPC Creative
Pentatonix: “Up on the Housetop” – Sony Music
TheWave – TheWaveVR
Waves – Wevr (with Reggie Watts)

VR – Branded
WINNER: 360 VR Tour of the Shinola Factory with Luke Wilson – Reel FX
Absolut Deadmau5 – Absolut
Audi’s VR Car Showroom Experience – Zero Light
Formula E “Leap of Faith” – REWIND
Jack Daniel’s 360 VR Distillery Experience – Jack Daniel’s & The Mill
Jaguar: I-PACE – REWIND (for Imagination & Jaguar Land Rover)
Reimagine, VR Film by Etihad Airways with Nicole Kidman – The Barbarian Group
Stan Lee’s Cosmic Crusaders – The Hollywood Reporter, GBI, POW, Legend VR
The Field Trip to Mars – McCann (for Lockheed Martin) & Framestore
The Nature Conservancy: This is Our Future – MPC Creative

Yours Truly and the amazing Jon Favreau

The 2017 recipient of the annual Harold Lloyd Award for Filmmaking goes to Jon Favreau! And deservedly so. His artful storytelling married to eye opening filmmaking technology has thrilled audiences time and time again. My favorite Favreau film (FavFavFilm?) is definitely CHEF although the original IRON MAN comes very, very close. It was wonderful chatting with him for the first time at the Lumieres!

I want to deeply thank Jim Chabin and his AIS team for their tireless work in pulling off these shows every year. It is an absolute pleasure to attend and cover them! Thank you Jim!!

Looking forward to what 2017 has in store for us in Advanced Imaging and VR! Stay tuned. As MarketSaw enters our 11th year of life, we're going to be making some awesome changes!

I'll leave you now with some poster shots of the cinematic VR content we were able to experience!

Are You Experienced? BILLY LYNN'S LONG HALFTIME WALK Premiere's October 14th

Yes, I say "experienced" because Ang Lee's BILLY LYNN'S LONG HALFTIME WALK will be something you've never seen before and sets the stage for "the new platinum standard" of modern stereoscopic 3D. This is a game changer and a world's first.

It's not just 3D anymore guys. It's 4K 3D shot at 120 frames per second! From everything I've heard, this is THE way to experience the format. I've seen 3D shot/shown at 48 and 60 frames per second created by James Cameron, but never 120. Apparently, all aspects of the alleged "soap opera" effect disappear at 120 - something I have yet to see.

But the real trick is going to be for the masses to see it in 4K3D @ 120. Most cinemas can go to a maximum of 60 fps, not 120. There will have to be major capital investment by theater owners (new projectors!) in the future to be able to screen movies like BILLY LYNN in the premium format, and I certainly appeal to them to do so earlier rather than later, but it's a foregone conclusion that it won't be anytime soon.

If you will be in New York after the premiere, apparently the theater that is being used for the New York Film Festival premiere of the movie (AMC  Lincoln Square) will keep the dual laser projectors in place for the theatrical run. So there's that.

From FSLC (Film Society Lincoln Center): Lee’s stunning adaptation of Ben Fountain’s novel is the story of an Iraq war hero (newcomer Joe Alwyn) who comes home with his fellow members of Bravo Company for a victory tour. This culminates in a halftime show at a Thanksgiving Day football game—a high-intensity media extravaganza summoning memories of the trauma of losing his beloved sergeant in a firefight. Lee’s brave, heartbreaking film goes right to the heart of a great division that haunts this country: between the ideal image of things as they should be and the ongoing reality of things as they are. With a brilliant supporting cast, including Kristen Stewart, Chris Tucker, Garrett Hedlund with Vin Diesel and Steve Martin.

I know most of the 3D team behind this movie personally and trust me - these guys are at the top of the game, starting with the Stereographer / Stereo Supervisor, Demetri Portelli and Production Systems Supervisor (2D, 3D, All Digital Workflow), Ben Gervais along with 3D Systems Technicians, Brian Cassar and Sandra Lombardi. The team also set up a 3D digital lab and entire DI lab in Ang's office which housed Nathan Shields (Toronto), Daniel George (Toronto), Michael Buck (LA) and Derek Schweickart (LA) who also did LIFE OF PI with Ang.

Production Systems Supervisor Ben Gervais was quoted (Variety) talking about the audiences thus far: "Test subjects that have seen some footage have commented that 40 minutes after seeing battle footage, they're still shaking." Really underscores their accomplishment!

Stereographer Demetri Portelli used Stereotec lightweight rigs with F65 cameras and of course Master Prime lenses (same as he did on LIFE OF PI, 47 RONIN, TS SPIVET). He and Gervais manufactured their own mirrors specifically for this project and they modified the fiber cable on set workflow, to suit the needs of production. They used Panavision Woodland Hills for prep and accessories. The key element was building a complete 4K stereo DI in Ang's office watching 120 FPS which was only made possible by Baselight (a Filmlight color grading system which they also used on HUGO).

Says Portelli: "It is also the first film graded at 120/4K/3D on Christie projectors with the digital master being projected at 28 foot lamberts! As (audiences) will see during the 12 minutes at IBC, and then the whole experience at New York Film Festival - our huge thanks to Christie projectors for their support in getting these images on the screen."

I've talked to Ang Lee as well specifically about 3D and future plans - as usual he's humble, yet obviously an extremely gifted filmmaker. Lee will also receive the IBC International Honor For Excellence (International Broadcasting Convention) next month in Amsterdam.

We are in good hands here. I can't wait to be wowed. My anticipation is through the roof for this movie and I've got to find some way of seeing it in 4K3D @ 120 fps.

NYC road trip anyone? :-)

Movie Review: X-MEN: DAYS OF FUTURE PAST - 9 Stars - No Spoilers - Amazing 3D!

X-MEN: DAYS OF FUTURE PAST has the best 3D I have seen other than THE HOBBIT movies, GRAVITY and HUGO! Truly an achievement.

If you are an aficionado of 3D then go see this movie (on the largest screen possible) for the stereo alone! Of course the movie is worth while seeing for all it's other components but the 3D really stood out for me.

The team of John Harper (Lead Stereographer), Brent Robinson (Stereographer - Second Unit / UW Camera Operator), Ben Gervais (3D Production Systems Supervisor), Brian Cassar (Stereo Rig Technician) and Jeff Amaral (Stereographer, Splinter Unit) nailed it! They were using 3ality Technica rigs for the production which I continue to hear absolutely wonderful things about from the actual crews that use them. A great group of stereo professionals!

Harper called them "a Dream Team of true believers." and I heartily concur. I have met most of these guys and they are consummate pros - passionately involved in blending their creative eye with today's leading technology advancements.

I don't know what small portions were converted but Stereo D was involved to a degree with some shots - probably the tight space scenes or post production touch ups based on the director's eye or studio influence. Not sure, will find out. This is usual for most tentpole native 3D productions.

What 3D did I love? Well if you watched the trailers there is one scene where Quicksilver is running around a room doing Quicksilvery things and that shot is staggeringly well done! It made the movie for me. Icing on the cake. Robinson was particularly proud of this scene and said "The Quicksilver 3D was probably the coolest thing I've done." I also really enjoyed the inside of a 'control room' that features a prominent TV show from the late 1960's and the curvature of the shot was very well done. Further there is a scene where outside light is being shone through a window down over a character and on to a chess board. Really beautiful.

The cast of course is another dream team. How can you go wrong? I felt the story was lacking in a few areas but the pacing was incredible and it kept you on the edge of your seat throughout. Character Development rated my lowest and understandably so - with so many characters it's hard to go into any depth of where they came from, but at this point there is solid understanding of many of these franchise centerpieces - Wolverine in particular. I appreciated the screen time and further exploration of Ellen Page's Kitty Pryde. She really is VERY important to this plot.

I would have liked to see more detailed effects development for the sentinels. I know that's a personal thing and what they have in the movie is fine, but with the abilities that they have I felt something was missing. Something more sinister. That's my opinion.

Overall, if you want a movie that is WELL WORTH YOUR MONEY, then X-MEN: DAYS OF FUTURE PAST is it. They spent $200 million on this thing and it shows. Believe me when I tell you - go see it. It's all up on the screen and more.

I'll discuss more in the comments without anything held back regarding spoilers. Feel free to speak your mind!

X-MEN: DAYS OF FUTURE PAST is now playing!

TIS3DC 2013: Jean Pierre-Jeunet Skype Interview & Demetri Portelli and Ben Gervais Workshop

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-Jeunet

The 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.

Without the pre-editing on set there could have been unwanted surprises in post, and for this Pierre-Jeunet was thankful. On a personal note, I spoke with Ben separately and have to say this is an intelligent and hard-working individual, he also worked on Hugo, Pacific Rim, 47 Ronin, and the coming X-Men: Days of Future Past. His pre-editing technique has been used on each of those sets, and it's clearly an important element that makes digital filmmaking trumping film.

Now when it comes to conversion Pierre-Jeunet stressed that he doesn't like 2D to 3D conversion, and mentioned that his favorite 3D films thus far have been Avatar, Hugo, and Life of Pie. He shot for 3D and luckily it came out working great in 2D. Demetri mentioned the importance of trust between the director and the stereographer. Interestingly it was Demetri who sought out Pierre-Jeunet while working on Hugo about how great his style was built for 3D. Demetri emphasized that he learned from the master filmmaker to work with his style to work in 3D. "3D should ebb and flow like music" and it's this philosophy that makes Demetri's stereography so brilliant. He mentioned that "it's good to try lens flares in 3D," and emphasized the importance of being careful. Demetri loved the ARRI RAW for the night shoots because it contained little to no gain, which was great to help with the depth cues. He says that in SPIVET there are good depth cues at night.

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.

Demetri and Ben are a team, and Demetri mentioned that when he was brought on to one project he asked if he could bring a team, which meant Ben and a few others. The emphasis on the stereo team was an important one. The stereographer needs to be focused on the creative aspect of stereography, while Ben and his team dealt with the technical. It's another unit for a production, but an important one. One on one with them you got the sense of who to ask which question, and the answers were almost always shared by both. Demetri understands so much about the creative use that when he didn't have to worry about the technical, and Ben took care to make the work-flow streamlined, it allowed for both to present the director and director of photography options to make their vision what they want it to be.

They spoke about working on Hugo and working for Scorsese, and some of the challenges they encountered and how they overcame them. What's fascinating is the cables that had to be carried behind the Steadicam operator. They worked with the ARRI ALEXA on that shoot, and it's the preferred camera of these guys. They didn't have negative feelings towards the RED Epic, but they preferred the ALEXA, and I can't help but agree from my experience. The emphasis on data and work-flow in the conference had to deal with higher resolutions, and higher frame rates, and Ben mentioned that the Pablo (download brochure) has it's work cut out dealing with those higher resolutions and frame rates. Even at 24 fps the tools we use in Post-Production are at their limits; it takes a lot for current machines to playback at full resolution and frame rate. This is good and bad. Naturally, you want your post-production tools to handle the work-flow at it's best quality, but at the same time it keeps what you're working on at a low enough resolution for preview so that pirating can't happen. Still when the mobile tools of a production team and post-production team enables them to work at the fullest resolution and the max number of frames for a frame rate, then filmmaking will be at it's finest hour on a tech level.

That brings us back to story. The most important facet of the movie-going experience. Demetri implied that all his stereo techniques are for a single purpose: to aid the story and character development. It can be seen in Hugo, and from the preview of The Young and Prodigious T.S. Spivet it looks as though the stereography is used in the same way. Yesterday Jeremy Zimmer expressed his opinion that technology has hurt the story-telling, but that there's about to be a shift back towards an emphasis on good story-telling. From what Demetri said, and the why Pierre-Jeunet has talked about his love for the stereo format, the 3D in films are working in unison with the concept of great story-telling. Do the big franchises that the studios put out need better stories? Sure, but at least the individuals on the technology level understand how to use the tools to work in symmetry with the story.

A huge thanks has to be given to Demetri Portelli and Ben Gervais for attending the conference, and as well Jean Pierre-Jeunet for appearing via Skype. Don't forget that in the future he'll be able to do that in 3D! More posts coming soon on the TIS3DC from me…

SPIVET TRAILER:

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