Archive for the ‘3D Post Prodcution’ Category

Dark Country — An Interview with Thomas Jane

August 28, 2010

This unedited interview was recorded a couple of years ago at the Shanghai Grill in Beverly Hills.

LL:  What gave you the idea of shooting a 3-D, I’ll call it a horror movie?

TJ:  Let’s call it a thriller.

LL:  It’s a thriller.  Because “horror movie” is wrong.  Today it means gore.

TJ:  Yeah, this is much more…  a psychological thriller.  And the idea of exploring some psychological issues in the vein of film noir, where the heroes are typically conflicted psychologically and are working out some deep personal issues… For me, shooting the film stereoscopically was an allusion…  The depth in the picture gave me a chance to explore depth in filmmaking.  In other words, I felt like I could heighten the symbolism that’s inherent in the dreamlike narrative of film noir, with a heightened sense of depth and using the visuals in a way that would cast them in relief, bring some of the visuals to the foreground, and allow me to explore psychological issues in a visual way.  (more…)

AVATAR AS THE JAZZ SINGER

June 19, 2010

The popular myth of the coming of the sound cinema is that The Jazz Singer was the decisive film.  It may have been an important moment, but if you read The Speed of Sound by Scott Eyman you will see that the story is more nuanced.  Today we have a candidate for the 3-D Jazz SingerAvatar.  (more…)

THE FUTURE OF PROJECTION

May 12, 2010

The future of the motion picture industry will be determined by the popularity of stereoscopic films.  This monstrous Caliban, ridiculed for decades, has been rehabilitated and taken to the bosom of the industry for the best of reasons; in the last few years a giant share of profit from motion pictures released in theaters has come from 3-D movies.  Although revenue is rising attendance is flat, and the additional revenue is attributable to stereoscopic movies.  This is good news for the studios, because DVD sales are plummeting and this makes up for that loss of revenue.  And it may well be that sales of 3-D Blu-ray disks are going to be a source of additional revenue.  So hooray for 3-D. (more…)

CLASH OF THE 3-D MOVIES

April 27, 2010

Five years ago when Disney decided to release Chicken Little in 3-D, they had to be thinking about a couple of things:  One, as a tactic, taking a movie like Chicken Little and releasing it in 3-D might be a good marketing approach.  It gave the studio something to talk about, and 3-D might create buzz.  Two, strategically, it was a way for the studio to further the cause of digital projection.  The studio hoped to accomplish two things:  Anti-piracy might be better enabled with digital; and digital distribution could reduce print cost.   (more…)

THE BIG BRIGHT 3-D SCREEN

April 14, 2010

A third of theatrical release revenues since the opening of Avatar in December have come from a handful of 3-D films and when you consider that 125 features have been released in the same timeframe I’d say it’s all over but the shouting for 2-D. Call me bullish but the same pattern emerged when sound was introduced. Given that as background let us consider that the biggest source of revenue comes from the largest theaters with the biggest screens. So let’s consider the subject of the biggest 3-D screens.  (more…)

Converted to Conversion, 2

April 7, 2010

As a result of my experience with Paramount and Star Trek I became friendly with people at one of the conversion houses, In-Three, located in Thousand Oaks.  In-Three had recently undergone a change in management, and because I thought they had a lot of promise I went out and met with them and did a couple of training sessions.  Their technique was almost purely mathematical and I thought that what they needed to do was shift more toward the subjective and the aesthetic, rather than the analytical.  After all, the composition of stereoscopic images is ultimately judged by human beings, and various ratios, distances, and parallax values have a less than one to one correlation with perception.  The final arbiter of a 3-D image is a human being, and it is better to train somebody to have a well-developed aesthetic sense than to fuss around with a lot of equations.  In-Three did came up to world-class standards, but mostly because of the change in personnel and their reorganization and not through my minimal efforts. (more…)

Converted to Conversion, I

April 5, 2010

The idea of taking a two-dimensional image and turning it into a stereoscopic image is not a new one.  The idea of being able to pull this off for a motion picture sounds like a fantasy.  There are two extant techniques – conversion on-the-fly and conversion I supposed one would classify as off-line, requiring some considerable effort.  I am not going to consider on-the-fly technology because the state of the art is abysmally abysmal.  (more…)

UPDATE: BRIGHTEST STEREOSCOPIC PROJECTION

March 24, 2010

I have been working on a new stereoscopic projection method, the Oculus3D™ system, using 35mm projectors and specially formatted film.  From a business perspective there is a strong demand for a product like this since there are not enough digital projectors, the usual platform for 3D projection, in the United States, North America, or the rest of the world, for that matter.  There are theatrical features, mostly adventure fantasy films, shot in 2D, that are being converted so that they can be shown in 3D. And there are 3D movies in the pipeline that were planned to be in 3D — something like two features a month for this year. A studio executive is probably making a good decision to convert assets to maximize attendance and profits after the robust success of Avatar and Alice, which are financial successes that have given a boost to the stereoscopic medium.  We are seeing steps toward the ubiquity of the stereoscopic cinema on a genre by genre basis – first kids’ animation, then horror date movies, and now action, science fiction, and adventure films. The 3D films that are getting made are, with the passage of time, for older and older audiences. Now it would seem that all tent-pole movies are likely candidates for 3D.  (more…)

POLARIZED LIGHT AND 3-D MOVIES, PART 3

January 18, 2010

If you take a left- and right-handed circular polarizer and you lay them on top of each other on a light box, you will see that they will extinguish the light.  Do the experiment by using the filters from a pair of glasses from a MasterImage or a Real D show and put the polarizers together so that the retarders are facing each other (those are the sides of the filters that are facing the screen). If you rotate one with respect to the other you will see that the extinction varies.  What’s going on here?  It’s circularly polarized light and you would think that you wouldn’t get a variation in extinction as you do for linear.  But you do get a variation and you will see that the image will go from pretty dark to, depending upon the material you’ve got, a sort of amber color that transmits more light. There is quite a noticeable variation in both density and color with rotation. So the head orientation does matter, except that the falloff isn’t as great as it is for linear polarized light. (You can also hold the filters sandwich up to a light source – like a desk lamp.) If you flip the filters around the other way so the retarders are facing outward you have linear polarizers and you can try rotating them to confirm that they work as described earlier. You will note that even for the circular case you perceive the extinction to be at a maximum when the linear axes components’ are at right angles.  (more…)

POLARIZED LIGHT AND 3-D MOVIES, PART 2

January 15, 2010

A large percentage of light passes through when the filter’s axes are parallel and this is called transmission, and a smaller percentage of light passes through when the axes are at right angles and this is called extinction.  The ratio of the two is called the contrast ratio or the dynamic range.  For good linear (or as I said earlier, some people call it plane) sheet polarizers for stereoscopic applications, the materials used usually have transmission between 30 to 35 percent and the dynamic range is about 3000:1 for the lower transmission material. In other words, only 1/3000th of the light in transmission passes through when the axes of the polarizers are orthogonal (extinction).  For circular polarization the dynamic range is about a tenth of that for good linears.  (more…)