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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First Trailer for Jean Pierre Jeunet's THE YOUNG AND PRODIGIOUS SPIVET In 3D

Tim here with a trailer from the latest movie by acclaimed director Jean Pierre Jeunet (DELICATESSEN, CITY OF LOST CHILDREN, AMELIE and MICMACS). His next film is a 3D family feature titled The Young and Prodigious Spivet and is based on The Selected Works of T.S. Spivet, by Reif Larson.

This is a movie that was shot using Cameron | Pace Group 3D Rigs and the ARRI Alexa. After the success of Baz Lurhmann's THE GREAT GATSBY as a dramatic 3D feature this will be a great treat. If any of you have seen Jeunet's previous films you're aware that you're in a for a real treat with him venturing into 3D. He's a true cinematic mastermind, whose every frame is magic to witness on screen. If you haven't seen his previous films the ones listed above are magnificent films to start with.

Here's what stereographer Demetri Portelli said about the director's use of 3D (quote from filmstage.com, where more images from the set are located):

"This is an important film for the 3D industry, Jean-Pierre is a master filmmaker who is shooting very ambitious material on a modest budget. The film stands to prove that extraordinary 3D images can be created of the highest quality with a director who visualizes the story from its inception to be shot in 'native 3D capture.' Jean-Pierre embraced the medium with on-set 3D systems to tell the story of 'T.S. Spivet.' The director will seize many 3D opportunities 'in the moment' as he blocks the scenes and composes his shots. I am amazed at Jeunet's storyboards and how he conceived the film originally in 3D from the script stage. He is playing with the depth space and the timing for his 3D moments."

SYNOPSIS:
A 12-year-old cartographer secretly leaves his family's ranch in Montana where he lives with his cowboy father and scientist mother and travels across the country on board a freight train to receive an award at the Smithsonian Institute.

Below is the trailer.  

I apologize for the French subtitles, but since this is a trailer for the French speaking countries since they are the only ones with a release date as of yet it's the only one available.

The film stars newcomer Kyle Catlett as the title character T.S. Spivet, and the cast includes Helena Bonham Carter, Judy Davis, and Dominique Pinon. Currently there is no North America release date, but it is set to be released in France in October on the 16^th so hopefully it gets a domestic release date soon.

NAB Show 2013: Dolby, Philips And CPG Partner On Autostereoscopic 3D TV

My good friend David Cohen over at Variety broke this story involving the new partnership of Dolby Laboratories, Royal Philips Electronics and the Cameron Pace Group for the support of autostereoscopic (glasses-free) 3D TV. Very interesting development!!

"3D is not really going to be successful as a mainstream viewing medium for consumers until it’s as easy as sitting down and watching the content," said Giles Baker, SVP, Broadcast Business Group of Dolby. "In order to deliver that best experience, you really need to embed a deep understanding of how the content was created into the 3D content."

Says Vince Pace of the Cameron Pace Group:  "The model for 3D success is from companies that know what they’re doing, know the combination of quality and technology. So Dolby was perfect fit for CPG."

"People will see entertainment as they experience everyday life and CPG will take the business steps to make that happen. That was done in the theatrical world, when Jim (Cameron) committed to making a film in 3D when digital cameras, digital cinemas, were all in their infancy. If you look at the broadcast model, to describe it as in its infancy is correct. But we see that as an opportunity for us. That’s the kind of market we like to play in."

The article paraphrases what Steve Schklair of 3ality Technica told Variety: '3D live broadcasting had stalled in part because of the lack of a strong business model in the U.S.'.

I will update this story as it unfolds, but for now it's an exciting next step toward glasses free 3D and the future of the small screen.

Movie Review: Ang Lee's LIFE OF PI - 9 Stars!

What a visually stunning, stunning movie. If you haven't had a chance to see it yet, by all means get out and enjoy this masterpiece by director Ang Lee. And I mean Oscar worthy masterpiece. Lee hits on all the high points and seldom do you think that what you are watching is not an eye full of cinematic love for the audience.

I will say that at times the story was kind of slow in building up but when the moment hits and Pi's life is turned upside down - what a visual treat.

I want to talk about the 3D right away here. Amazingly well done. Ang Lee utilized native 3D through the rigs and services of the Cameron | Pace Group and you can tell that there just aren't many - if any - technical errors with the stereoscopic 3D. Some very cool and seldom used effects too - I won't go into details here as it may spoil your experience, but we can freely talk about them in the comments if you wish.

I'm so anxious to compare this cutting edge example of modern native S3D (through Cameron | Pace) to the upcoming sure to be masterpiece THE HOBBIT: AN UNEXPECTED JOURNEY because this project was shot using CPG's native 3D rigs and services competitor 3ality Technica and what we've all seen so far of that production has been jaw dropping too. Who will have delivered the top 3D goods?

Claudio Miranda's cinematography in LIFE OF PI is absolutely remarkable. Some shots are so intricate and well thought out that you just want to grab a screen cap of it and stare at it. So many scenes are desktop wallpaper worthy and that's no exaggeration.

So what was not so good about the movie? Well a few things. I thought the story was paced slowly at times in the beginning - still a visual marvel out of the blocks - but slow. So drink in the visuals while you wait for the action to pick up and then relax and immerse yourself. I am not a fan of character development accomplished through flashbacks (and I know there is not much choice here), thus the lower score (81 is still very good!).

Here's the storyline for the movie:

A man named Pi tells a story that occurred when he was 16. When his family decides to move their zoo from India to Canada, Pi winds up as the only human survivor of the tragic sinking of a cargo ship. On the sea in a lifeboat, he's accompanied by the other survivors—a zebra, a hyena, a female orangutan and a 450-pound aggressive Bengal tiger named Richard Parker.

I did like the twist at the end of the movie. Even coming from a guy who considers himself much more aligned to science than religion, I found it to be moving enough to smile. That's an accomplishment in my books. I can imagine the impact on a more religious person.

So definitely a must see in my opinion and a must see in 3D. If you see it in 2D you are not enjoying the movie as the director Ang Lee intended you to see it and you will be missing out, I guarantee it.

9 out of 10 Stars.

Special thanks to Empire Theatres for the screening in RealD 3D. The screen was crisp and well lit as well as a perfect sound level! Outstanding customer service too.

James Cameron And Vince Pace On Ang Lee's LIFE OF PI **AND** The Visual Effects Behind The Tiger!

You can just tell this movie is going to spellbound us. Look at the talent associated with the 3D alone: director Ang Lee, Vince Pace and James Cameron - the latter two provided the 3D camera rigs and services through their Cameron | Pace Group.

Here's what Cameron had to say about it:
"The 3D is an integrated part of the art form, and I feel like the technology that we've created has contributed to a masterpiece."

Not small words coming from him. Sure he's a bit biased with his company working on this project, but he wouldn't put his name on it in this fashion if it weren't a special movie. We're in for a treat with this one folks.

Hit the jump to view the clips...

WOW. MUST WATCH: New International Trailer For Ang Lee's LIFE OF PI

What a week for gorgeous trailers! First THE HOBBIT and now LIFE OF PI! After seeing the second trailer for Peter Jackson's re-visitation to Middle-earth I was suitably impressed. One of the best trailers I have ever seen. Then comes along this beast of a trailer! WOW.

Which do you think is better? Tough, tough choice and certainly they are totally different movies but the imagery in both astound.

Ang Lee's LIFE OF PI has done nothing but impress me from the start of their marketing push. Each successive drop of visual splendor has been better than the last and this tells me we are in for a treat opening night. Same for THE HOBBIT. It's hard not to compare these trailers.

And the comparisons don't stop at just the trailers. The 3D is going to look amazing and we have some bragging rights at stake here too: THE HOBBIT is being shot using 3ality Technica rigs and LIFE OF PI is utilizing Cameron | Pace Group rigs! Clearly both productions are going to have cutting edge, best of the best native 3D - combine that with the content we have seen thus far in these trailers and then throw it up on the largest 3D screen available and... sheer movie immersion.

Here's the storyline for LIFE OF PI:
Director Ang Lee (BROKEBACK MOUNTAIN, CROUCHING TIGER, HIDDEN DRAGON) creates a groundbreaking movie event about a young man who survives a tragic disaster at sea and is hurtled into an epic journey of adventure and discovery. While marooned on a lifeboat, he forms an amazing and unexpected connection with the ship’s only other survivor — a fearsome Bengal tiger.

What do you think of the trailer? I can't stop watching it. Both of these trailers this week in fact. I must have watched them both a dozen times and I still feel as though I've missed something and want to revisit them.

LIFE OF PI hits theaters on November 21.

Stunning New Images From Ang Lee's LIFE OF PI

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Wow. Gorgeous new shots from Ang Lee's LIFE OF PI continue to floor me with their visuals. The color palette that Lee is using is stunning!

Here's the storyline from the book:
The son of a zookeeper, Pi Patel has an encyclopedic knowledge of animal behavior and a fervent love of stories. When Pi is sixteen, his family emigrates from India to North America aboard a Japanese cargo ship, along with their zoo animals bound for new homes.

The ship sinks. Pi finds himself alone in a lifeboat, his only companions a hyena, an orangutan, a wounded zebra, and Richard Parker, a 450-pound Bengal tiger. Soon the tiger has dispatched all but Pi, whose fear, knowledge, and cunning allow him to coexist with Richard Parker for 227 days while lost at sea. When they finally reach the coast of Mexico, Richard Parker flees to the jungle, never to be seen again. The Japanese authorities who interrogate Pi refuse to believe his story and press him to tell them “the truth.” After hours of coercion, Pi tells a second story, a story much less fantastical, much more conventional – but is it more true?

LIFE OF PI has also been honored with the opening of the NYFF. For all of our coverage of LIFE OF PI, click here. The movie opens on November 21.
 

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Source: Indiewire

50th NYFF Opens With 3D For First Time: Ang Lee's LIFE OF PI

The New York Film Festival (NYFF, running Sep 28 to Oct 14) is celebrating 50 years in the business this year and to top that off they are opening the show with a 3D movie for the first time ever. Ang Lee's LIFE OF PI gets the nod as the intensely artistic project nears its release date of November 21 in North America.

If you have seen the trailer for the movie, then you are beginning to get an idea of what to expect from it.

Here's the storyline from the book:
The son of a zookeeper, Pi Patel has an encyclopedic knowledge of animal behavior and a fervent love of stories. When Pi is sixteen, his family emigrates from India to North America aboard a Japanese cargo ship, along with their zoo animals bound for new homes.

The ship sinks. Pi finds himself alone in a lifeboat, his only companions a hyena, an orangutan, a wounded zebra, and Richard Parker, a 450-pound Bengal tiger. Soon the tiger has dispatched all but Pi, whose fear, knowledge, and cunning allow him to coexist with Richard Parker for 227 days while lost at sea. When they finally reach the coast of Mexico, Richard Parker flees to the jungle, never to be seen again. The Japanese authorities who interrogate Pi refuse to believe his story and press him to tell them “the truth.” After hours of coercion, Pi tells a second story, a story much less fantastical, much more conventional – but is it more true?

I'll have more about the movie and its reception at the NYFF as it happens.

Must See: New Posters For DREDD And CIRQUE DU SOLEIL: WORLD'S AWAY

Couple of new posters for you from promising and upcoming 3D movies - DREDD and CIRQUE DU SOLEIL: WORLD'S AWAY.

First up is the graffiti style poster for Karl Urban's DREDD. Reminiscent of how Sony tackled some of the viral marketing for THE AMAZING SPIDER-MAN, Lionsgate is now leveraging the maneuver and I think for the most part it works. The symbolism is clearly targeted at Dredd's helmet and the 'X' design where his eyebrows would be underneath.

DREDD opens on September 21.

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CIRQUE DU SOLEIL: WORLD'S AWAY is a completely different genre movie altogether! While DREDD is a solid 'R' for a rating, WORLD'S AWAY will focus on a family experience. The poster offers a cinematic take on what will surely be sensory overload for the eyes.

The athletes of the Cirque are one of kind. This movie should also be one of a kind, and if you haven't seen the trailer yet, you can click over right here.

Produced by none other than James Cameron, we should be taken on quite a visionary journey to the world of Cirque du Soleil. Have you seen any of their work? If so, you can imagine what this will be like - all shot in native 3D using the equipment and expertise of the Cameron | Pace Group.

CIRQUE DU SOLEIL: WORLD'S AWAY opens on December 21.

Cameron Pace Group Celebrates New 3D Tech And Services Deal With Chinese Companies -- Co-Production Options Exist For AVATAR Sequels

In what appears to be a landmark collaboration, the Cameron | Pace Group (CPG) have signed on with two Chinese companies, providing them with stereoscopic 3D technology and services. The two companies are Tianjin North Film Group, a movie and television production company, and Tianjing Binhai Hi-Tech Development Group, who operate a tech park in Tianjin, situated east of Beijing where the venture will be based.

China Central Television (CCTV) is also in talks with CPG's China Division for a potential third deal for the Vince Pace, James Cameron led company in the world's most populous country.

Says veteran stereographer Vince Pace: "We play a support role. We're there to help the expression of creativity and artistry."

Expands director James Cameron: "We're not going to tell Chinese film makers how to make movies. We are going to help them make a transition to 3D production technology as cost effectively as possible, and in a way that doesn't inhibit creativity."

It is apparently a great win-win scenario here. The Chinese companies clearly get top 3D industry expertise in technology and services, while CPG gains that business - a toehold in that exploding new Chinese 3D market. Further, some research, development and manufacturing of CPG's equipment will take place now in China.

Here's Cameron on the topic: "This is a huge investment for us, as much in sweat equity ... as it is financially."

"We expect (CCTV if they adopt 3D) to expand very rapidly, from initially maybe a handful of productions a year to, two or three years from now, we could be talking about thousands of hours of TV production. That's our goal, in any case."

"This is an enormous untapped market that is right on the verge of the transition from 2D to 3D," said Cameron. "This is the best place for us to create a kind of second home."

CPG is not the only Hollywood company seeking business ventures in the country. Dreamworks Animation will be opening a $3 billion theme park in Shanghai by 2016 and will also make at least part of KUNG FU PANDA 3 in China. Further, the IRON MAN 3 will be co-produced with a Chinese partner according to Disney.

With AVATAR 2 and it's potential release year of 2015 approaching, will CPG look into using the Chinese connection to help make the sequels? Potentially yes. Says Cameron: "There have been some very preliminary discussions about co-production potential here in China." Realistically though, I'm thinking that there may some scenes shot in the country, but at least for AVATAR 2 much of decisions may have been made. If you take a look at Cameron's recent activity in New Zealand, it seems that country will benefit the most from the upcoming blockbusters.

China for it's part has announced (March 2012) it will let an additional 14 foreign films into their country on the condition that they are made in 3D or IMAX. They have also raised the foreign share of allowable ticket sales to 25 percent. China's ticket sales continue to rise - up by a third last year alone ($2 billion).

In a potential film market such as China, these trailblazing deals have the silver lining to be very large down the road too. The Cameron | Pace Group earned $58 million last year from providing 3D services and equipment and it certainly seems that the future is continually growing for CPG with deals like this in the hopper.

Is there a danger of losing the technology to poor imitations in China like other industries have seen happen? Yes, but Cameron downplayed it: "That's certainly a danger. We are going to look very carefully at how we protect our core technology. But frankly... it is changing so rapidly that you can clone what we are putting in the field now, but we'll be coming out with something new in 18 months, anyway."

So congratulations to everyone on the Cameron | Pace Group team! Well deserved piece of business there and future success!

Sources: The Gazette | NYPost | SkyNews | Bloomberg

Ok It's Here! Check Out The First Trailer For Ang Lee's LIFE OF PI

We've seen some impressive imagery from Ang Lee's LIFE OF PI already but will the first trailer hold up to the intense expectations being set upon the movie?

YES. It does. Amazing so in fact. It reminds me a bit of how Tarsem Singh might have handled the movie - incredibly visual, surreal and yet intensely alive. I love it.

I won't go on too much about it until you've seen the trailer and have had a chance to absorb it perhaps with multiple viewings. Imagine this is 3D! And it's a native 3D production to boot shot with Cameron | Pace Groups 3D rigs.

Here's the storyline from the book:
The son of a zookeeper, Pi Patel has an encyclopedic knowledge of animal behavior and a fervent love of stories. When Pi is sixteen, his family emigrates from India to North America aboard a Japanese cargo ship, along with their zoo animals bound for new homes.

The ship sinks. Pi finds himself alone in a lifeboat, his only companions a hyena, an orangutan, a wounded zebra, and Richard Parker, a 450-pound Bengal tiger. Soon the tiger has dispatched all but Pi, whose fear, knowledge, and cunning allow him to coexist with Richard Parker for 227 days while lost at sea. When they finally reach the coast of Mexico, Richard Parker flees to the jungle, never to be seen again. The Japanese authorities who interrogate Pi refuse to believe his story and press him to tell them “the truth.” After hours of coercion, Pi tells a second story, a story much less fantastical, much more conventional – but is it more true?

Here's the trailer! Enjoy...




LIFE OF PI opens on November 21.

Ang Lee's LIFE OF PI Looking Gorgeous! Check Out Four New Banners And A Movie Clip!

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WOW! I might appreciate art a bit more then others who don't have a mother who's an artist, but this work is clearly appreciable to all in my mind. All the material in this post is from the official site of LIFE OF PI.

The banners are amazing and utilize a watercolor effect to accomplish a wonderful dreamlike state and a testament to the care and attention that LIFE OF PI is getting from all connected with it. Just look at the detail in the boat alone! 

Ang Lee is raising filmmaking to the art it should be and I am thrilled to see it come together like this.

Ang Lee is shooting in native 3D with Cameron | Pace Group's 3D rigs and cameras. Clearly the visuals will be outstanding!

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There is no official storyline for the movie as of yet, so here is the book's description from Amazon:
The son of a zookeeper, Pi Patel has an encyclopedic knowledge of animal behavior and a fervent love of stories. When Pi is sixteen, his family emigrates from India to North America aboard a Japanese cargo ship, along with their zoo animals bound for new homes.

The ship sinks. Pi finds himself alone in a lifeboat, his only companions a hyena, an orangutan, a wounded zebra, and Richard Parker, a 450-pound Bengal tiger. Soon the tiger has dispatched all but Pi, whose fear, knowledge, and cunning allow him to coexist with Richard Parker for 227 days while lost at sea. When they finally reach the coast of Mexico, Richard Parker flees to the jungle, never to be seen again. The Japanese authorities who interrogate Pi refuse to believe his story and press him to tell them “the truth.” After hours of coercion, Pi tells a second story, a story much less fantastical, much more conventional–but is it more true?

LIFE OF PI opens on November 21.

Atticus Ross Scoring 47 RONIN: Why This Movie Has Everything Going For It!

I am getting VERY excited about this project. Universal's 47 RONIN looks like a movie adding up to be a great theatrical experience from story to visuals to score.

First of all, newcomer director Carl Rinsch (who made an exceptionally good short called THE GIFT) is quite talented - blending his fresh ideas with 47 RONIN is something to look forward to in my books.

Secondly the story itself was written by Hossein Amini (DRIVE, SNOW WHITE AND THE HUNTSMAN) and Chris Morgan (FAST FIVE, WANTED) so with that pedigree you can count on not only an action packed movie, but a visually pleasing one as well.

Speaking of which, the cinematography is by John Mathieson (X-MEN: FIRST CLASS, GLADIATOR) so expect no limitations as to what sort of action and gritty aesthetic beauty we'll see here.

Thirdly, the Cameron | Pace Group have lent their expertise to the native 3D production, so clearly a top notch 3D production is on it's way to us.

Finally we now have Atticus Ross (THE SOCIAL NETWORK, THE GIRL WITH THE DRAGON TATTOO, THE BOOK OF ELI) scoring the movie! Trent Reznor will not be working with him but no matter, the talent is undeniable. Look for his unique sound signature on upcoming trailers!

Oh yes, and a great action star in Keanu Reeves! He is playing a mixed race character (Kai) in the movie. His supporting cast is top notch as well with Rinko Kikuchi, Hiroyuki Sanada, and Tadanobu Asano.

Says Reeves: "Japanese kids grow up with this story told to them. They hear it from family and they learn it in school, it’s part of the culture. It’s been made into movies many times and on television. It’s like our westerns, the story keeps being told. It’s been reworked in some ways [for this new film] but with great care and respect."

Here's the movie's description as paraphrased by Hero Complex:
The troupe of banished samurai long to restore their honor and find vengeance against the treacherous Lord Kira (played by Asano, who is in theaters now as Hogun in Thor) who was responsible for the death of their master. Kai is the uneasy compatriot in their company and his standing will be questioned even more as he falls in love with Mika (Shibasaki), daughter of the fallen master. The film presents a quest where the ronin (the term for samurai with no master) face trials that test their mettle and their loyalty to one another.

47 RONIN slashes it's way into theaters on November 21. I'll be first in line!

Source: Film Music Reporter

Horrible Helicopter Crash In Australia Claims Lives Of Andrew Wight And Mike deGruy

I received an email 6 hours ago from one of our awesome readers in Australia (thanks Shaun) that pointed me to a tragic story on News.com.au. Andrew Wight (51, writer / producer, SANCTUM, pictured with Cameron) and Mike deGruy (60, award winning cinematographer, pictured below) both died at the scene of a terrible helicopter crash shortly after taking off from an airport near Berry Saturday afternoon. They were off to scout locations at Jervis Bay for an upcoming documentary. Wight was piloting the flight.

If Wight's name sounds familiar maybe it's because of his $100m movie SANCTUM or because I just posted about him becoming the head of the Cameron | Pace Group's Australian office. He helped develop the 3D technology behind AVATAR. James Cameron has worked with Wight since their documentary on the Titanic in 2000.

Underwater cimenatography specialist deGruy recently tweeted: "Been in Australia 2 weeks, one to go then off to PNG. Love this place - especially Sydney on Australia Day."

PNG = Papua, New Guinea (?) which potentially means James Cameron's documentary which he plans to shoot at the bottom of the pacific, a belief echoed by the Daily Telegraph.

deGruy's website reads: "Mike has dived under the ice at both poles, been to all continents, become a submersible pilot, dived hundreds of times in many types of submersibles, filmed the hydrothermal vents in both the Atlantic and the Pacific and had more meals on the Titanic, now resting at 12,500 feet deep, than did the doomed passengers."

James Cameron has spoken out about the horrible loss: "Mike and Andrew were like family to me. They were my deep-sea brothers and both were true explorers who did extraordinary things and went places no human being had been."

Andrew Grierson (Director of SANCTUM) said the Australian film industry has lost of its most dynamic filmmakers: "He was coming at film-making from a different angle. He was the most entrepreneurial film maker in the country, he's a great loss. In a lot of ways he was more than a producer; he was an expedition leader."

Wight was from Victoria, Australia and deGruy was from Santa Barbara, CA. Andrew Wight is survived by his wife Monica and his one-year-old son Ted. Mike deGruy is survived by his wife Mimi, his son Max and his daughter Frances. An investigation is underway as to the cause of the accident. There are images of the crash scene, but I feel it is out of place to post them.

Our deepest condolences to the families of these two fine filmmakers.

Sources: news.com.au | dailytelegraph.com.au

Paramount Acquires James Cameron's CIRQUE DU SOLEIL WORLD'S AWAY 3D Feature

This one should be a treat! If you have ever seen a Cirque du Soleil show then you know what I mean and if you haven't seen one, then be prepared for a spectacle.

Andrew Adamson (SHREK, CHRONICLES OF NARNIA: THE LION, THE WITCH AND THE WARDROBE) wrote the movie and is directing and James Cameron is executive producing. In other words, Cameron is lending his name and clout in getting this thing made and shot in native 3D (with Cameron-Pace Group's equipment and expertise).

Here's the official press release:
HOLLYWOOD, CA (January 10, 2012) – Paramount Pictures and Cirque du Soleil jointly announced today that the studio has acquired worldwide distribution rights to the Cirque du Soleil 3D feature film entitled “Cirque du Soleil Worlds Away”. Written and directed by Andrew Adamson (“Shrek,” “The Chronicles of Narnia: The Lion, the Witch and the Wardrobe”), and executive produced by Academy Award ® winning filmmaker James Cameron, the 3D film event features artistic and acrobatic performances from some of the most elaborate Cirque du Soleil productions. The film was produced by Adamson, Aron Warner, Cirque’s Martin Bolduc and Ed Jones and Cary Granat. Vince Pace oversaw the 3D stereo production aspect of the film.

A number of production companies collaborated to bring the film to life. In addition to Cirque, Warner and Adamson’s Strange Weather Productions, Reel FX and Cameron Pace Group all contributed to this groundbreaking production.

“The coupling of filmmaker James Cameron’s groundbreaking 3D visual accomplishments and Andrew Adamson’s beautiful direction, combined with a timeless original story written especially for this movie, will make for a truly amazing moviegoeing experience for audiences of all ages ” said Rob Moore, Vice Chairman of Paramount Pictures.

Said Jacques Méthé, Executive Producer, General Manager, Images, Events, Lifestyle of Cirque du Soleil, “This 3D event brings the spectator beyond what they could see at a show, it takes them on the stage. This unique point of view allows the audience to discover the artistic details of our productions and reveal the human spirit that our artists bring to the audience in their performances. Jim and Andrew have masterfully captured what a Cirque du Soleil 3D experience could offer and Paramount will present it to the world.

Really looking forward to seeing more Cirque magic. I've seen some of their Las Vegas shows and they never fail to awe!

O.D. Welch Named Chief Operating Officer - CAMERON | PACE GROUP

Veteran Industry Exec Brings Wealth of Experience Growing Media & Entertainment Companies

BURBANK, CA, October 10, 2011 – James Cameron and Vince Pace, Co-Chairmen of CAMERON | PACE Group (CPG) announced today that industry veteran O.D. Welch has joined the company as Chief Operating Officer. Based out of the company’s Burbank headquarters, Welch will be responsible for leading CPG’s global expansion, focusing on strategic planning and execution, international business development, and worldwide operations of the group.

“O.D. is an exceptional operations executive,” said Vince Pace, Co-Chairman, CAMERON | PACE Group. “Add to that his international business experience, and overall entertainment industry savvy and you can see why he will be key to accelerating our worldwide expansion.”

In his new role, Welch will prepare the company for this expansion by streamlining products and services offerings, adapting overall operations to be easily replicated internationally, and turning CPG’s recent partnership alliances (i.e. ARRI & Grass Valley) into new, and even more efficient 3D production solutions.

“CAMERON | PACE Group envisions a world where 3D is the dominant form of visual media, in which the company is the leader at the intersection of content creation and technology,” said James Cameron, Co-Chairman of CAMERON | PACE Group. “O.D. is a skilled leader and shrewd deal-maker, and is indicative of the caliber of people we seek to help make this vision a reality.”

Prior to joining CAMERON | PACE Group, Welch served as President of Evolve Consulting in Los Angeles where he oversaw strategic and financial advising to the company’s entertainment and media clientele. In addition, he has held roles as Chief Operating Officer, North America for Prime Focus Group, Chief Operating and Financial Officer for the ComputerCafe Group, and President of 525 Studios among others.

As Production Executive on nearly three dozen feature films, Welch’s credits include Iron Man, Speed Racer, Spider Man 3, Pans Labyrinth and King Kong. He is also a member of the Producers Guild of America, the Visual Effects Society and the Hollywood Post Alliance.

According to Welch, “Building, growing and evolving entertainment companies is what I do. Having the opportunity to do this for CPG, the authority in the 3D production space, and partnering with Jim and Vince to realize 3D’s fullest, global potential is a once in a lifetime thing.”

About CAMERON | PACE Group:
CAMERON | PACE Group (CPG) is the industry leader in 3D technologies and production services – from SLATE² SCREEN. Led by co-founders James Cameron and Vince Pace, CPG is advancing the future of 3D through the development of products, solutions and creative tools for use across all media channels. Supporting networks, studios, broadcasters, filmmakers and creative teams globally, the company's unparalleled expertise helps content producers realize the full potential of 3D as a new, immersive and powerful storytelling medium. CPG's easy, efficient and cost-effective 3D solutions have supported productions generating more than $7.5 billion in box office, and have played a key role in 9 concert films, 27 features and more than 140 sports broadcasts worldwide.

For more information, please visit www.cameronpace.com

Love watching Hollywood's 3D professional services / equipment companies grow! Quality talent picked up here for CAMERON | PACE...

See: Three FINAL DESTINATION 5 Posters

Well the first three FINAL DESTINATION 5 posters have dropped and they are pretty much standard fare for the franchise - what can I say? The ominous skull is present in all of course and the prerequisite teens in peril / cowering! Looks to be somewhat higher stakes though regarding special effects as a lengthy suspension bridge will take massive damage this time around for the opening death scene.

Click the images to enlarge. Check out the higher resolution version over at IMP Awards (via Collider).

You all know the premise - Death comes after a group of teens that "mistakenly" avoid death in some horrific accident only to be reassigned a future death in the order in which they should have perished. And most of those deaths are quite inventive indeed.

FINAL DESTINATION 5 is special though. It is being shot with the Cameron - Pace Group's Fusion 3D Cameras, the same ones that Michael Bay used to shoot TRANSFORMERS: DARK OF THE MOON. So it's in native 3D, just like it's immediate predecessor.

Here is the official description and synopsis from last fall:
Production is underway on New Line Cinema’s fifth installment of the “Final Destination” franchise, which began back in 2000, with the original film quickly becoming a cult hit. The new victims of Death’s plan are part of a cast led by Emma Bell (Frozen, TV’s “The Walking Dead”) and Nick D’Agosto (Fired Up!, TV’s “Heroes”). The film is being shot on location in Vancouver, Canada.

The second of the “Final Destination” films to be shot in 3-D, Final Destination 5 is being directed by Steve Quale, marking his major feature film directorial debut. Producer Craig Perry (”American Pie”) returns for the fifth time, working with executive producers Sheila Hanahan Taylor, Erik Holmberg, Richard Brener, Walter Hamada and David Neustadter. The screenplay was written by Eric Heisserer, with revisions by Gary Dauberman; Heisserer is no stranger to the horror genre, having penned New Line’s recent hit A Nightmare on Elm Street.

Final Destination 5 brings together an ensemble cast that includes Bell and D’Agosto, along with Miles Fisher (TV’s “Mad Men” and “Gossip Girl”), Arlen Escarpeta (Friday the 13th), Jacqueline MacInnes Wood (TV’s “The Bold and the Beautiful”), P.J. Byrne (Dinner for Schmucks) and Ellen Wroe (TV’s “Huge”). Rounding out the rest of the cast are Courtney B. Vance (TV’s “FlashForward,” “ER”), David Koechner (”The Office,” Anchorman) and “Final Destination” franchise icon Tony Todd (Hatchet II).

In this fifth installment, Death is just as omnipresent as ever, and is unleashed after one man’s premonition saves a group of coworkers from a terrifying suspension bridge collapse. But this group of unsuspecting souls was never supposed to survive, and, in a terrifying race against time, the ill-fated group frantically tries to discover a way to escape Death’s sinister agenda.

Collaborating with Steve Quale behind the scenes are director of photography Brian Pearson (Drive Angry 3D, My Bloody Valentine 3D); production designer David Sandefur (Repo Men, Journey to the Center of the Earth); editor Eric Sears (Shooter) and costume designer Jori Woodman (Eight Below).

The film is a production of New Line Cinema and will be distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment Company.

Stay tuned for more developments on this film! Can't wait to see the results from the CPG Fusion system again soon...

FINAL DESTINATION 5 opens August 26.

9 Stars - TRANSFORMERS: DARK OF THE MOON Advanced Review

There are no spoilers in this review, but you are free to discuss anything you wish about the movie in the comments section below.

Click on the images to enlarge.

TRANSFORMERS: DARK OF THE MOON has the best 3D and action movie I have seen to date. Staggeringly well done and a must see in stereoscopic 3D. NINE STARS!

While I technically have DARK OF THE MOON (86.43/100) trailing slightly behind another action movie - THOR (88.6/100), that is only because of some issues with story and characters - NOT the visuals. If you want an entertaining and at times jaw dropping summer popcorn experience, DARK OF THE MOON is it. Michael Bay has set the bar at its current peak. Nothing has been better to date including AVATAR. As you probably know by now, it was shot with the same technology (only upgraded!).

I am ecstatic to say that the issues with bright light and native 3D have been solved - at least with this movie. It could very well be that the scenes that Bay captured with the bright sun beaming into the camera lens were converted (he did do a small portion of the movie with conversion). All I know is, the bright light hazing phenomenon is gone. In fact we are left with gorgeous lens flaring in 3D which is a genius way of adding the effect of something coming at you that is not considered startling, but to the contrary - gorgeous natural lighting! My hearty applause for that Mr. Bay!

However, there were issues with characters and story unfortunately. NOT as much trouble as with TRANSFORMERS 2 mind you! Not nearly as much. There is actually almost a very compelling character in Sentinel Prime that I was quite pleased with indeed. I say almost because so much more could have been done. Still it was a pleasure to see something develop on the screen regarding characters. I recognize the challenge in doing something with autobots though, clearly.
The story needs much more emotion and motivation. I just wasn't feeling as much as I should have been. All of that destruction and chaos for what exactly? I didn't even feel the dread of what was happening because the end result was unclear. Can't talk too much more about things with out giving it away, but there it is.

TF3 is far and away the best of the three in my mind however. If you liked the first one, stand in line baby 'cause you'll love this one. AND if you are a Leonard Nimoy / Spock fan like I am, you are in for many, MANY treats! :-) I won't say more!!

Let's breakdown the aspects of my review:

Stereoscopic 3D (10 stars):
Perfect 3D. The very very rare artifact that I detected is not worth mentioning. And as I said above, the bright light 3D issues have been resolved and I was broadly smiling from that alone. Simple static shots with the Fusion 3D system were in fact better than conversions. It is a pure capture of space with native 3D and not an interpretation and I guess that makes all the difference. Don't get me wrong - 3D conversion has come a long- way, but those native shots were definitely better. A lay person may not notice the difference, but I do. I would wager that the more they watch the movie the more chance they would see how it is superior. The best 3D I have seen to date - therefore gets a perfect 10 from me!!

Story (7 stars):
Nothing has changed all that much with the character development of Shia's Sam Witwicky or the autobots. Rosie Huntington-Whiteley was a definite improvement over Megan Fox. Frances McDormand added a touch of respectibility. But when all is said and done, you are left thinking about the superb action and 3D rather than the story or characters.

The standard TRANSFORMERS humor is definitely still present and I laughed out loud several times. You'll enjoy those moments.

Acting (8 stars):
Acting was ok. Nothing too intense for sure! Shia has improved somewhat and at least he isn't running around shouting "no, no, no, no, no, no, nooooooo" if you know what I mean. Clearly Rosie is better for the movie than Megan was because Rosie has an element of class and elegance. You can see why Sam falls for her (other than looks that is).

The real stars of the movie are the action and 3D. They deserve top billing. Oscars will be piling up on the effects guys on this one no doubt.

Character Development (8 stars):
If it wasn't for Sentinel Prime I would not be happy with this category at all really for TF3. But the Nimoy driven character was very fascinating (no pun intended).

Suspension of Disbelief (9 stars):
Superlative special effects and jaw dropping 3D brought on just about perfect suspension of disbelief. It looked so real. Nothing was telling you that this couldn't happen other than the innate childishness of the autobots to begin with. But we are all past that by now aren't we? I am. Its part of our culture now.

Directing (9 stars):
There are only two directors on this planet that could deliver this type of movie. James Cameron and Michael Bay. Bay stepped up and topped himself for this effort. I think he even topped Cameron (for action that is). Cameron can weave a superb story and character arc with his action, but for pure bred, in your face, "what did I just see" action - Bay is the man. For that, he gets 9 stars.

Sound / Score (10 stars - rounded up):
Wow. Extremely well done and bone shattering. The almost perfect compliment to what is being presented on the big screen. It needs to reinforce the visuals and IT DOES in a big way.

Cinematography (10 stars - rounded up):
Amir Mokri was masterful (he's also doing MAN OF STEEL). Bay and Mokri work well together and you have to on a project like this. The coordination of the stunts, pyrotechnics, actors, camera movement / focus and Bay's vision has writing on the wall for an Oscar. It is that good.

Special Effects / Stunts (10 stars - unreserved):
The best I have seen to date. No exceptions. Therefore TF3 gets a 10 from me. I need not say more - GO SEE IT!!!

This is the movie event of the summer so far! HARRY POTTER and CAPTAIN AMERICA may have something to say about it, but for pure visuals and entertainment, you can't beat DARK OF THE MOON. I give this movie my unreserved blessing for you to go see. It is worth the money for 3D and I recommend IMAX 3D if you have it available.

Let me know what you think!!! SPOILERS ARE ALLOWED IN THE COMMENTS - YOU HAVE BEEN WARNED!!!

“TRANSFORMERS: DARK OF THE MOON” Embraces Fusion 3D

I've seen the movie. It delivers on the promises! The 3D and action is staggering - full review coming up shortly...

CAMERON | PACE Group’s FUSION 3D System Shoots the First-Ever “Transformers” Story in 3D

CAMERON | PACE Group (CPG) announces it is the innovative company behind the FUSION 3D system outfitted with F35 cameras and SLATE²SCREEN™ 3D production support services for Paramount’s live-action 3D film, “TRANSFORMERS: DARK OF THE MOON,” from director Michael Bay and executive producer Steven Spielberg. As the first-ever “Transformers” film to be released in 3D and the third installment in the blockbuster “Transformers” series, it will be released exclusively in 3D tonight and everywhere on June 29, 2011.

“At the start, Bay was really against using 3D as a medium,” said Vince Pace, Co-Chairman and CEO of CAMERON | PACE Group. “After working with FUSION 3D, Bay really embraced it as a creative and powerful storytelling medium and used it aggressively to capture this live-action, high-octane production.”

CAMERON | PACE Group (formerly PACE) also pioneered an advanced mobile X frame system for video engineering that allowed director Michael Bay and cinematographer Amir M. Mokri to capture “TRANSFORMERS: DARK OF THE MOON” footage with complete flexibility and mobility while shooting on location in Chicago, Detroit, Florida, Houston, Washington D.C. and Los Angeles.

“FUSION 3D was able to keep up with Bay’s fast-paced shooting style and was flexible and adaptable enough to meet any of the creative or live production challenges,” said Dave Canning, 3D Engineer of CAMERON | PACE Group.

CAMERON | PACE Group's technology and innovation has resulted in over $5 billion of box office receipts and major 3D benchmarks recognized within the industry including the sci-fi epic blockbuster, “AVATAR.” The FUSION 3D system development began over a decade ago and through constant innovation has become the most utilized, creative and advanced workflow system available within the industry. Upcoming FUSION 3D productions include Paul W.S. Anderson’s “The Three Musketeers,” Martin Scorsese’s “Hugo Cabret,” Andrew Adamson’s “Cirque du Soleil,” Ang Lee’s “Life of Pi” and Carl Rinsch’s “47 Ronin” and much more.

About CAMERON | PACE Group:
CAMERON | PACE Group (CPG) is a trend-creating technology and production services firm. CPG is advancing the future of 3D across all media channels by making the most advanced products, support solutions and creative tools available and accessible to networks, studios, broadcasters, filmmakers and creative teams around the globe. The company is singularly dedicated to building upon the strong foundation of innovative technology developed by its
visionary co-founders, James Cameron, Vince Pace and Patrick Campbell and leveraging its unmatched 3D expertise to help content producers realize 3D's full potential as a creative and powerful storytelling medium. CAMERON | PACE Group was founded in 2011 by Vince Pace and James Cameron and is headquartered in Burbank, CA.

For more information, please visit, www.cameronpace.com

About the Movie:
TRANSFORMERS: DARK OF THE MOON is directed by Michael Bay, written by Ehren Kruger and produced by Don Murphy & Tom DeSanto, Lorenzo di Bonaventura and Ian Bryce. The executive producers are Steven Spielberg, Michael Bay, Brian Goldner and Mark Vahradian. When a mysterious event from Earth’s past erupts into the present day it threatens to bring a war to Earth so big that the Transformers alone will not be able to save us. The movie stars Shia LaBeouf, Josh Duhamel, John Turturro, Tyrese Gibson, Rosie Huntington-Whiteley, Patrick Dempsey, Kevin Dunn, Julie White with John Malkovich and Frances McDormand. It will be released by Paramount Pictures exclusively in 3D on June 28th and everywhere on June 29th.
© 2011 Paramount Pictures Corporation. All Rights Reserved.

HASBRO, TRANSFORMERS and all related characters are trademarks of Hasbro.
© 2011 Hasbro. All Rights Reserved.

For more information on the movie, please visit, http://www.transformersmovie.com/

CBS And CAMERON–PACE Group Win Sports Emmy For US Open Tennis Championship In 3D

Very cool award! Congratulations Vince and James!! Emphasis below is mine...

The National Academy of Television Arts and Sciences Recognizes CBS Sports and CAMERON – PACE Group with “The George Wensel Technical Achievement Award” for the 2010 US Open Tennis Championship in 3D

BURBANK, CA, May 6, 2011 – CAMERON – PACE Group announces it won a Sports Emmy Award with CBS Sports at the 32nd Annual Sports Emmy Awards held at Lincoln Center in New York City on Monday, May 2, 2011.

CAMERON – PACE Group (formerly PACE) was the innovative company responsible for designing and supplying six FUSION 3D camera systems including three 2D/3D integrated camera rigs, Shadow D powered with Shadow Vision system technology and the fully integrated, on-location live broadcast mobile unit, FUSION Mobile 1 Unit™ for CBS Sports’ 2010 US Open Tennis Championship. This live 3D sports broadcast marked the first time in history that the US Open Tennis Championship was captured in 3D and the first ever live 3D broadcast utilizing CAMERON – PACE Group’s 2D/3D integrated camera rig, Shadow D. Both companies were awarded under “The George Wensel Technical Achievement Award” category which recognizes technical innovation that is extraordinary and enhances the broadcast for the viewer for the US Open Tennis Championships - 3D at US Open Tennis Championships production.

“We are honored to be recognized with CBS Sports for the US Open Sports Emmy,” said Vince Pace, Co-Chairman and CEO of CAMERON - PACE Group. “The future of 3D sports hinges on the integration of critical camera positions. Utilizing the Shadow D System we were able to give the viewer a courtside seat without any additional operators, seat kills or camera positions; a win/win for all.”

With live 3D sports production continuing to rise, CAMERON - PACE Group saw the opportunity to revolutionize the 2D and 3D live sports production capture process with the design of an integrated 2D/3D camera rig, known as Shadow D and the development of the Shadow Vision system technology. The Shadow D rig stacks a 3D camera next to a longer 2D camera lens and allows one camera operator to control and drive both cameras with one set of controls, capturing 2D and 3D images simultaneously. This allows 2D camera operators to capture 3D without learning new production techniques, reduces 3D production costs and solves the conflict of 2D and 3D camera placement around a sports venue.

"It's great that our technology is being recognized," said James Cameron, Co-Chairman of CAMERON - PACE Group. "The Shadow D allows the use of shared camera positions and operators. It's all about creating a business model that works, that makes 3D cost effective for broadcasters."

CAMERON – PACE Group first unveiled the Shadow D rig at the 2010 NAB Show. Since then the Shadow D rig has been utilized for various live 3D sports productions including the CBS Sports’ 2011 Masters Golf Tournament, CBS Sports’ 2010 US Open Tennis Championship, ESPN’s 2010 ESPN Masters Golf Tournament, ESPN’s 2010 Summer X Games and HBO Sports’ 2010 Boxing. At this year’s NAB Show, Vince Pace and James Cameron showed a 3D clip from CBS Sports’ 2011 Masters Golf Tournament during their opening keynote speech in Las Vegas, Nevada.

About CAMERON - PACE Group:
CAMERON - PACE Group is advancing the future of 3D across all media channels by making the most advanced products, support solutions and creative tools available and accessible to networks, studios, broadcasters, filmmakers and creative teams around the globe. The company is singularly dedicated to building upon the strong foundation of innovative technology developed by its visionary co-founders, James Cameron, Vince Pace and Patrick Campbell, and leveraging its unmatched 3D expertise to help content producers realize 3D's full potential as a creative and powerful storytelling medium and remove any barriers that prevent global audiences from experiencing the most compelling, engaging and high quality 3D entertainment possible. CAMERON - PACE Group was founded in 2011 by Vince Pace and James Cameron. The company is headquartered in Burbank, CA.

For more information, please visit www.cameronpace.com