Saturday, December 27, 2008

Katzenberg: 3-D vision goes beyond animation

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DWA chief gives keynote at Singapore festival

By Janine Stein

Nov 19, 2008, 02:29 PM ET

SINGAPORE -- It's a 3-D world, and Jeffrey Katzenberg thinks it's time to reflect that on the big screen -- and not just in animated films.

"In five to seven years, all films, regardless of budgets or type, will be made in 3-D," the DreamWorks Animation boss said here Wednesday during his keynote at the inaugural 3DX Film and Entertainment Technology Festival.

"3-D is how we see, how we take things in. It's natural," Katzenberg said. "This is not a gimmick, it's an opportunity to immerse the audience, to heighten the experience."

He added that the migration to 3-D will happen on all screens, including mobile phones and laptops.

Katzenberg was joined by Walt Disney Studios Motion Pictures Group president Mark Zoradi and others in stressing the industry's commitment to 3-D as the future of film.

Moviegoers' early response is clear, Zoradi said, citing the success of such 3-D titles as "Chicken Little" and "Hannah Montana and Miley Cyrus: Best of Both Worlds Concert."

"Consumers clearly prefer 3-D if they have a choice," he said, adding that 3-D films could bring in two to three times the business of a 2-D release.

Zoradi touted his studio's new five-picture deal with Imax, which will kick off with Robert Zemeckis' "A Christmas Carol" in November 2009, adding that the slate could involve projects from Tim Burton and Jerry Bruckheimer, though no details were disclosed.

Producer John Landau, now working with James Cameron on "Avatar," said that 3-D would "do for cinema what stereo did for the audio industry."

All the film industry has to do is "demystify" 3-D for consumers, whose perception of 3-D may be of "gimmicks on B films" and "theme parks that forced things off the screen," Landau said.

Zoradi's presentation Wednesday included the first public screening of 3-D footage from "Beauty and the Beast" (originally released in 1991), which Disney is re-rendering for a 2010 release, as well as Disney's "Tron 2," set for 2011 or 2012.

The addition of "Beauty and the Beast" brings Disney's number of digital 3-D releases for 2009-10 to 11, with another six to come in 2011. This would give Disney more than 50% of all 3-D releases during the next three years; 11 of those would be animated.

"The biggest barrier (to 3-D) is not product, it's the installed base of digital cinemas," Zoradi said.

Katzenberg predicted that 35%-40% of admissions for March DWA release "Monsters vs Aliens" will be for 3-D. For a film coming out 15 months later, he envisions 80%-85% of admissions for the company's next "Shrek" installment to be for 3-D.

Stressing the technical advances that made the latest incarnation of 3-D different from past efforts, Katzenberg said 3-D "will bring people back to the movies who have stopped going."

"This is not my father's 3-D," he said. "There's no ghosting, no eye strain and best of all, you don't throw up. Throwing up is not good for anyone's business."

All agreed that 3-D's ability to immerse audiences in the film is the key.

"There is nothing more immersive than 3-D," Landau said. "On 'Titanic,' our goal was to use visual effects to make people feel part of the film. With 'Avatar,' we're using technology to transport people to another world."

Katzenberg said that theatrical digital 3-D represents a "unique opportunity for cinemas" to create an experience that consumers could not get at home, "and it will be many years before they can."

Among the reasons cited was the fact that light diminishes the quality of the image.

"The only place in the home to replicate this is in the coat closet ... and I would not want to spend two hours there watching a movie," he said.

Katzenberg: 3-D vision goes beyond animation

DWA chief gives keynote at Singapore festival

By Janine Stein

Nov 19, 2008, 02:29 PM ET

SINGAPORE -- It's a 3-D world, and Jeffrey Katzenberg thinks it's time to reflect that on the big screen -- and not just in animated films.

"In five to seven years, all films, regardless of budgets or type, will be made in 3-D," the DreamWorks Animation boss said here Wednesday during his keynote at the inaugural 3DX Film and Entertainment Technology Festival.

"3-D is how we see, how we take things in. It's natural," Katzenberg said. "This is not a gimmick, it's an opportunity to immerse the audience, to heighten the experience."

He added that the migration to 3-D will happen on all screens, including mobile phones and laptops.

Katzenberg was joined by Walt Disney Studios Motion Pictures Group president Mark Zoradi and others in stressing the industry's commitment to 3-D as the future of film.

Moviegoers' early response is clear, Zoradi said, citing the success of such 3-D titles as "Chicken Little" and "Hannah Montana and Miley Cyrus: Best of Both Worlds Concert."

"Consumers clearly prefer 3-D if they have a choice," he said, adding that 3-D films could bring in two to three times the business of a 2-D release.

Zoradi touted his studio's new five-picture deal with Imax, which will kick off with Robert Zemeckis' "A Christmas Carol" in November 2009, adding that the slate could involve projects from Tim Burton and Jerry Bruckheimer, though no details were disclosed.

Producer John Landau, now working with James Cameron on "Avatar," said that 3-D would "do for cinema what stereo did for the audio industry."

All the film industry has to do is "demystify" 3-D for consumers, whose perception of 3-D may be of "gimmicks on B films" and "theme parks that forced things off the screen," Landau said.

Zoradi's presentation Wednesday included the first public screening of 3-D footage from "Beauty and the Beast" (originally released in 1991), which Disney is re-rendering for a 2010 release, as well as Disney's "Tron 2," set for 2011 or 2012.

The addition of "Beauty and the Beast" brings Disney's number of digital 3-D releases for 2009-10 to 11, with another six to come in 2011. This would give Disney more than 50% of all 3-D releases during the next three years; 11 of those would be animated.

"The biggest barrier (to 3-D) is not product, it's the installed base of digital cinemas," Zoradi said.

Katzenberg predicted that 35%-40% of admissions for March DWA release "Monsters vs Aliens" will be for 3-D. For a film coming out 15 months later, he envisions 80%-85% of admissions for the company's next "Shrek" installment to be for 3-D.

Stressing the technical advances that made the latest incarnation of 3-D different from past efforts, Katzenberg said 3-D "will bring people back to the movies who have stopped going."

"This is not my father's 3-D," he said. "There's no ghosting, no eye strain and best of all, you don't throw up. Throwing up is not good for anyone's business."

All agreed that 3-D's ability to immerse audiences in the film is the key.

"There is nothing more immersive than 3-D," Landau said. "On 'Titanic,' our goal was to use visual effects to make people feel part of the film. With 'Avatar,' we're using technology to transport people to another world."

Katzenberg said that theatrical digital 3-D represents a "unique opportunity for cinemas" to create an experience that consumers could not get at home, "and it will be many years before they can."

Among the reasons cited was the fact that light diminishes the quality of the image.

"The only place in the home to replicate this is in the coat closet ... and I would not want to spend two hours there watching a movie," he said.

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Saturday, December 20, 2008

Avatar Movie Production: Music

Watch TV on PC - 12,000 TV Channels and Movies Composer James Horner will score the film, which will be his third collaboration with Cameron after Aliens and Titanic. Horner recorded parts of the score with a small chorus singing in the alien language Na'vi in March 2008. He is also working with Wanda Bryant, an ethnomusicologist, to create a music culture for the alien race.

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Saturday, December 13, 2008

Avatar Movie Production: Filiming and Effects

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In December 2006, Cameron explained that the delay in producing the film since the 1990s had been to wait until the technology necessary to create his project was advanced enough. The director planned to create photo-realistic computer-generated characters by using motion capture animation technology, on which he had been doing work for the past 14 months. Unlike previous performance capture systems, where the digital environment is added after the actors' motions have been captured, Cameron's new virtual camera allows him to directly observe on a monitor how the actors' virtual counterparts interacts with the movie's digital world in real time and adjust and direct the scenes just as if shooting live action; "It’s like a big, powerful game engine. If I want to fly through space, or change my perspective, I can. I can turn the whole scene into a living miniature and go through it on a 50 to 1 scale." Cameron planned to continue developing the special effects for Avatar, which he hoped would be released in summer 2009. He also gave directors Steven Spielberg and Peter Jackson a chance to test the new technology. Spielberg and George Lucas were also able to visit the set to watch Cameron direct with the equipment.

Other technological innovations includes a performance-capture stage, called The Volume, which is six times larger than previously used and an improved method of capturing facial expressions. The tool is a small individually made skull cap with a tiny camera attached to it, located in front of the actors' face which collects information about their facial expressions and eyes, which is then transmitted to the computers. Besides a real time virtual world, the team is also experimenting with a way of letting computer generated characters interact with real actors on a real, live-action set while shooting live action.

In January 2007, Paramount Pictures announced a live-action adaptation of Avatar: The Last Airbender under M. Night Shyamalan and said that the project's name had been registered to the Motion Picture Association of America for movie title ownership, though a 20th Century Fox representative for James Cameron's Avatar indicated that the studio owned the movie title. Paramount eventually retitled its film as merely The Last Airbender. In the same month, Fox announced that the studio's Avatar would be filmed in 3D. Cameron described the film as a hybrid with a full live-action shoot in combination with computer-generated characters and live environments. "Ideally at the end of the day the audience has no idea which they’re looking at," Cameron said. The director indicated that he had already worked four months on nonprincipal scenes for the film. Principal photography began in April, and was done around parts of Los Angeles as well as New Zealand. The live action is shot with the proprietary Fusion digital 3-D camera system developed by Cameron and Vince Pace. According to Cameron, the film will be composed of 60% computer-generated elements and 40% live action, as well as traditional miniatures. The performance-capture photography would last 31 days on a high-tech soundstage in Playa Vista. In October, Cameron was scheduled to shoot live-action in New Zealand[14] for another 31 days.

To create the human mining colony on Pandora, production designers visited the Noble Clyde Boudreaux drilling rig in the Gulf of Mexico during June 2007. They photographed, measured and filmed every aspect of the rig, which will be replicated on-screen with photorealistic CGI.

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Friday, December 12, 2008

Shyamalan assembles 'Airbender' cast

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Shyamalan assembles 'Airbender' cast

Rex Features

M. Night Shyamalan has assembled a cast of unknown actors for his next movie The Last Airbender.

Texan Noah Ringer has secured the role of the film's hero Aang, a 12-year-old boy with superpowers who is pitted against the Fire Nation. Ringer, a karate champion, answered an open casting call for the movie.

Joining him are Twilight actor Jackson Rathbone as Aang's friend Sokka and Nicola Peltz as his sister Katara.

Singer Jesse McCartney is in talks for the role of the Fire Nation's evil prince Zuko, according to Entertainment Weekly.

The Last Airbender is based on the anime-style Nickelodeon series Avatar. It will open in cinemas in July 2010.

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Cast Selected For Shyamalan’s ‘Avatar: The Last Airbender’

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Cast Selected For Shyamalan’s ‘Avatar: The Last Airbender’

The Last AirbenderEntertainment Weekly is reporting that M. Night Shyamalan has picked some of the cast for his upcoming film, The Last Airbender.

The movie is based on Avatar: The Last Airbender, the popular animated series that ran from early 2005 up until this summer. The story was organized into 3 books (seasons) with each episode called a chapter. There are 20 chapters in each book with one extra in the final book making for a 61-episode run to tell the story and end it properly.

And that they did.

On top of winning an Emmy award and being one of Nickelodeon’s highest rated shows ever; the series spawned all sorts of merchandise including several video games – and now a potential feature film franchise.

Here is the cast thus far:

  • Noah Ringer, a karate star chosen from an open casting call in Texas will play Aang, the central character (the Avatar) of the story. Aang is the last of his tribe and the story follows him as he and his companions travel the world in search of trainers to teach him to master the four elements.
  • Nicola Peltz will play Katara of the Southern water tribe.
  • Jackson Rathbone of recent Twilight fame will play Katara’s brother, Sokka.
  • Jesse McCartney, the young singer, is currently in negotiations to play Zuko, the exiled prince of the Fire Nation.

I watched the entire series earlier this year and really loved it. It took a bit to get used to and there was a lot of corny stuff in the earlier episodes, but overall it was pretty incredible and it is on my list of greatest cartoons ever.

That being said, similar to my thoughts on the new Dragonball Evolution trailer, this will be very difficult to translate into live-action. Shyamalan’s recent track record hasn’t exactly been stellar, so I am eager to see if he can pull this off.

The first installment of The Last Airbender is due out on the big screen July 2, 2010.

Source: Entertainment Weekly

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Racism Hits Hollywood Kid's Movie

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I thought we had just arrived at a milestone by electing the first black/Muslim President of the United States. However, Hollywood director, M. Night Shyamalan thinks otherwise.
Popular children's show, Avatar the Last Airbender has been signed to air as a live action film in late 2010. Like a normal fan, I scrambled to the internet to find out who was cast to play my favorite characters. To my profound horror, I found this http://www.comingsoon.net/news/movienews.php?id=51217
I couldn't fathom what Shyamalan was thinking...Casting white people to play Inuit, Asian, and, dare I say it... clearly not-white characters...? I confirmed the blog post as the truth after checking IMDB and I was completely and utterly enraged.
Isn't this considered Racism? Look, I may be jumping the gun but isn't it strange that, despite the actors' cartoon counterparts being of various Asian decent... not a single Asian, black, or Inuit actor/actress has been chosen to fill the roles? A friend of mine commented after hearing the news, "I think what's going to be hilarious is that they are going to need to tan or spray paint their skin to match the look. And you know, THAT'S not insulting at all." Furthermore, I wonder how blond teen pop-sensation idol, Jesse McCartney is going to pull off the role of Prince Zuko (not pictured)
Have we regressed back to the days where white actors painted their faces to play a character of a different race, such as Othello? And this is a kid's film, what is the underlying moral here?

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Avatar Last Airbender Casting News

Watch TV on PC - 12,000 TV Channels and Movies I already knew about the Avatar movie, knew that it was going to be directed by M.Night Shyamalan, had my reservations about it (the anime was great, why need a movie? especially so soon after the series ended, and directed by the same person who did "the Happening"?)

Looking around my favorite sites, found the reported casting. Aang will be played by an unseen karate star, Noah Ringer apparently from the Texas casting call.

Sokka may be played by Twilight's Jackson Rathborne.

Katara will be played by Deck the Halls' Nicola Peltz.


And the punchline? Jesse McCartney may be playing Zuko.

The movie is slated to be released in July 2010. Somehow I see Dragonball Evolution happening all over again.

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Tuesday, December 9, 2008

3D films: the next film revolution?

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They've been the next big thing for the past 50 years, but 3D films have finally come of age. Just the thing to get bums on seats, says Chris Evans

Cinema has already been through two major revolutions in its relatively short life. First there was the transition from silent to talkie, then from black and white to colour. Now Jeffrey Katzenberg, CEO of DreamWorks Animation, believes "3D is the next revolution in the cinema-going experience".

A bold statement, and one tinged with a distinct bias as DreamWorks is one of several Hollywood studios set to release their forthcoming animation projects in the new, digitised 3D format. Titles set to hit our screens include Monsters vs Aliens (2009), A Christmas Carol (2009), Toy Story 3 (2010), Shrek Goes Fourth (2010), and Avatar, due for release in December next year, which is hotly tipped to be the turning point in the 3D revolution.

It is important to point out that 3D is, of course, nothing new. It was first experimented with back in the 1950s and Imax cinemas have been showing films in 3D for the past 30 years. But now, with the advent of digital 3D technology being installed in cinemas worldwide, and the fact that the choice of films in 3D is not only broader but much better, audiences need only head to a multiplex and put on the glasses to immerse themselves in what is proving to be a wholly new way to enjoy the latest studio blockbuster.

"This is digital stereoscopic 3D. It is a far cry from the 3D experience of the 1950s. There is no ghosting and no headaches. It is pin-sharp, laser-sharp, crystal-clear 3D imagery," says Mark Batey, chief executive of the Film Distributors' Association. It's a view supported by Phil Clapp, chief executive of the Cinema Exhibitors' Association. "I have seen excerpts from the upcoming Monsters vs Aliens film and it is incredible. You actually feel immersed in the film, like the action is taking place around you, rather than in front of you, as it is in 2D."

There are currently 65 digital 3D screens in the UK, and more than 2,000 worldwide. Industry experts predict there will be at least 10,000 by 2012. This rapid expansion and advancement in 3D technology is seen by some as a response to the decline in cinema attendance and the rise in alternative viewing platforms such as the internet, PlayStation and cable television.

"Just as it was in the 1950s when the advent of television shook the cinema world to its bones, so in today's world of rapid digital communication, 3D is the cinemas' response to say we are bigger, brighter, bolder and better than anything you will experience at home," Batey says. Unlike the cumbersome, labour-intensive 3D systems of the 1950s, which required two cameras projecting on to the same screen, making synchronisation difficult, the new digital projectors, of which there are three different models – RealD, Dolby Digital Cinema and Imax 3D – require just the one projector run through a computer.

"The projection element is the same in terms of the lens and the lamp, but you have a server into which you plug hard drives with the film on, and that is then unscrambled and played through to the computer on the back of the projection unit," explains Clapp.

By simultaneously selecting two viewpoints, or a left eye and right eye, the technologies enable the brain to converge or fuse the images. By wearing the special glasses, the watcher prevents the image from bleeding over from the left to the right, or vice versa. "These projectors provide a much higher refresh rate between the two complementary eye images because it is stereo so the film producers are recording one version to the right eye and one to the left eye, and the projectors are then able to convert these into a high frame rate. So it is a really seamless effect," says Charlotte Jones, senior analyst of film and cinema at Screen Digest.

Also, unlike the heavy 35mm film reels, 3D digital films are stored on a hard disk, which means it is much easier to transport them from one cinema to the next. "These digital disks are essentially the right-eye and left-eye versions of the film together, and can be taken by bike or van to another site and inserted into a server and played through the digital projector, which is normally positioned alongside a 35mm projector," Batey says.

But the reason so many exhibitors are still holding back from installing the projectors is the expense. One digital projector alone for a single screen costs £40,000 to £50,000, and then to add a 3D upgrade would cost another £10,000 or even £20,000 on top of that.

"In the US, the studios are helping to finance the transition to digital and 3D by subsidising the projectors through the savings they are making as a result of using the cheaper digital prints as opposed to the expensive 35mm reels," Jones says. But outside of America, production companies working on 3D films are less inclined to contribute to the enormous costs, and take-up by the cinemas of the 3D projectors has so far been slow.

However, the potential revenue benefits of 3D are already being proven. The 3D release of films such as Journey to the Center of the Earth, Madagascar: Escape 2 Africa, Fly Me to the Moon and Chicken Little have taken at least two times, and in some cases three times, as much as their 2D releases.

This is partly due to the higher ticket costs of seeing the films in 3D. "To produce an animation film in 3D, you are probably looking at adding another 15 per cent on to the film budget, for a live action you are looking at another 30 per cent, which is why the studios are having to hike up the prices by as much as $5 in the US to recoup costs," Jones says.

Global revenue from 3D ticket sales in 2008 amounted to $240m, approximately 70 per cent of which, or $166m, came from North America. That figure of $166m accounted for roughly 1.8 per cent of total projected North American box-office takings for 2008, and Jones expects the share to climb to approximately 15% in 2009.

The realms of possibility and potential revenue with the new 3D technology are also not just limited to film. Some cinemas are experimenting with beaming live events via satellite into cinemas in 3D. Last week, RealD and 3ality Digital staged the world's first live 3D broadcast of an American football game, at the Mann Chinese 6 theatre in Hollywood.

"That could be really significant. In Europe, for example, they could show the Fifa World Cup live in 3D. That would be incredible," says Jones, adding that "in the near future it will potentially be possible to beam 3D images to mobile phones and into the home. The only problem would be wearing those 3D glasses at home, where you could be playing video games for four or five hours, or watching a few films over the course of an evening." So, in actual fact, while the cinemas are hoping the new 3D experience will draw the young crowd back to their screens, it looks like it could keep them at home even longer.

Big-screen action: The power of Imax

* 'The Dark Knight' director Christopher Nolan filmed six of the film's major action sequences using Imax cameras. As a result, Imax box offices were inundated for weeks with filmgoers intent on seeing Batman and the Joker on the even bigger screen. The film made £360,000 with a single print on a single Imax screen in Manchester – with the aid, it should be noted, of Imax's inflated ticket prices.

* The Imax system was first developed in Canada in the 1970s. Imax can screen films in a much larger format, and with much greater resolution, than a conventional cinema screen. Modern Imax theatres are also equipped with super-sophisticated sound systems.

* Until now, there have been only a handful of Imax screens in the UK, and only one in London – at the BFI in Waterloo. All that will soon change, however, with the introduction of the Imax digital projection system to Europe. Far cheaper to instal and run than its predecessor, digital will allow Imax to roll out across the continent.

As well as screening live sports events and concerts, theatres have a full slate of Imax Hollywood blockbusters lined up for 2009, including 'Watchmen', 'Transformers 2', 'Harry Potter and the Half-Blood Prince', and 'Avatar'.

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James Cameron Talks about Avatar and 3D

Watch TV on PC - 12,000 TV Channels and Movies At a two day summit devoted to all things 3D, conference founder Robert Dowling sat down with director James Cameron and 3D cinematographer Vincent Pace to talk about their perspectives on the stereoscopic movie-making. “If I could have shot Titanic in 3D I would have,” declared Cameron. “Any spectacle would benefit from it.”

Pace, who supplies 3D camera systems and post production, noted that there’s a knee-jerk reaction that only big players in Hollywood will attempt 3D movie-making. “The proof of concept and visionary aspect happened eight years ago with the documentary on the Titanic,” he said, “Not big budget films but people committed to changing entertainment. There’s nothing in the entertainment palette that can’t be considered in 3D, whether it’s nature, documentaries, sports…it’s been proofed out and we’ve seen successes across the board.”

Camera systems are now mature, said Cameron and Pace. Cameron mentioned that the first day of shooting Avatar, Hannah Montana was also shooting, on a different continent. “The question came up, were there enough cameras and crews?” he says. “We put a stake in the heart of that argument. Anyone contemplating a feature shouldn’t be concerned about availability of cameras or crews. They’re all operational at this point.”
With regard to how creativity is impacted by working stereoscopically, Cameron emphasized that “you have to make a good movie first.” Stereo is tertiary, he says, behind story, cast, design. “It has to be value added so the 2D experience is a good movie and the 3D movie is its own experience for those who want to seek it out.”

Dowling pointed out that many viewers are leery of 3D, remembering the red/green glasses of the 1950s. “There’s still misconceptions in peoples’ minds,” he says. But Cameron’s rejoinder was that 3D is “more mature by miles from the 1950s.” And he scolded 3D producers who might create a production that reinforces the negative experiences of yesteryear. “All it takes is one bad experience and people are turned off by 3D,” he said. “Anyone contemplating a long-term strategy has to think about any dumb short-term experience. Anyone using anaglyph glasses is not going to have a good time unless they’re a 5 year old on Ritalin. You’re creating a marketing challenge you have to dig yourself out of. We have to hunt those people down and take them out back because they’re hurting it for the rest of us.”

Dowling asked if exhibitors are excited about 3D movies. Pace replied that they can’t ignore the numbers for some of the recent 3D movies. “People are beginning to embrace it,” he said. “But exhibitors have to see really good 3D movies out there. Cameron’s point of view is that, since the “stereo renaissance,” all the films from Chicken Little onward have looked great, even when they were converted from 2D.

With Avatar gaining in buzz as it nears its release date (Dec. 18, 2009), Dowling asked Cameron, does he feel “an added sense of pressure”? “Yes, it can’t possibly meet expectations,” said Cameron. “I went out, got drunk and got over that. But it’s what we set out to do with Avatar that’s exciting. Look, here’s a big studio picture being shot in 3D. We’re taking the gamble.”

“It’s groundbreaking even without the 3D, he continued. “We’ve got digital performances in realtime. The movie might suck. I’ve drunk the Kool-Aid and I think it runs pretty well. As with any 3D film, there’s no stinkin’ screen. For the audience, it becomes a window into a reality, unfettered by what the director wants to put into that window. The stereoscopic illusion fires more neurons in the brain. Peoples’ brains are more active and it becomes a visceral experience.”

Cameron noted that he’s challenging Fox to be creative about how they market Avatar. Trailers will play at IMAX 3D shows, he added, saying that “the studio marketing machine will kick into gear and figure out how to make it work.” But he also noted that, although people will seek out the 3D experience, Avatar will be sold in every other manner. “It has to live and die on its merits,” he said.

For filmmakers contemplating making a 3D film, Cameron urged that they first talk with Pace. “Do your homework if you want to shoot in 3D,” he cautioned. “It’s not daunting. You can be demystified quickly. But there’s a lot of conflicting information out there.” Pace agreed, adding that a filmmaker contemplating 3D should ask all the questions and evaluate the answers. “We have real world examples whether it’s a feature film, sports or a concert to give him or her the confidence level needed to move forward.”

As to how much 3D would add to a film budget, Cameron noted that “as a producer you have to deal with everything and 99 percent of them don’t have to do with 3D. The 3D is a small specialized area.”The bigger the movie, the more the 3D’s incremental costs hide in the budget, says Cameron. Except when visual effects are involved. “They get more expensive in 3D,” he said. But it isn’t double the work: after roto, paint and whatever else is done to one eye, the changes are applied to the second eye and rendered. “If you want to number-crunch, y9ou can show that the additional cost is always off-set by the additional revenue, which has been the case for the last three years,” he said. “And I think it’ll get even better. It’ll get to the point where 3D is just another line item.”

Last word…”If you’re serious about exploring the idea of making your movie in 3D, get the camera for a day and play around. Every director will treat stereoscopy slightly differently. Develop your aesthetic with it.”

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Saturday, December 6, 2008

Avatar Movie Production: Development

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Development

In 1995, director James Cameron wrote an 80-page scriptment for Avatar. Cameron said his inspiration was "every single science fiction book I read as a kid", particularly striving to update the style of Edgar Rice Burroughs' John Carter series. Cameron saw his story as being about how Western civilizations supplant indigenous cultures, in either active genocidal or passive ways. In Avatar, humanity extends that to other planets. In August 1996, Cameron announced that after completing Titanic, he would film Avatar, which would make use of "synthetic", or computer-generated, actors. The project would cost $100 million and involve at least six actors in leading roles "who appear to be real but do not exist in the physical world". Special effects house Digital Domain, with whom Cameron has a partnership, joined the project, which would begin production in the summer of 1997.

In June 2005, director Cameron was announced to be working on a project tentatively titled "Project 880" parallel to another project, Battle Angel. By December, Cameron said that he planned to film Battle Angel first for a summer 2007 release, and to film "Project 880" for a 2009 release. In February 2006, Cameron said he had switched goals for the two film projects – "Project 880" for 2007 and Battle Angel for 2009. He indicated that the release of "Project 880" would possibly be delayed until 2008. Later that February, James Cameron revealed that "Project 880" was "a retooled version of Avatar", a film that he had tried to make years earlier, citing the technological advances in the creation of computer-generated characters Gollum, King Kong and Davy Jones. Cameron had chosen Avatar over Battle Angel after completing a five-day camera test in the previous year. Cameron's early scriptment for Avatar circulated the Internet for years. When the project was re-announced, copies were subsequently removed from websites. In June 2006, Cameron said that if Avatar was successful, he hoped to make two sequels to the film.

From January to April 2006, Cameron wrote the script. Working with Paul Frommer, linguist and Director of the Center for Management Communication at USC, he developed a whole language and culture for the Na'vi, the indigenous race on Pandora. In July, Cameron announced that he would film Avatar for a summer 2008 release and planned to begin principal photography with an established cast by February 2007. The following August, the visual effects studio Weta Digital signed on to help Cameron produce Avatar. Stan Winston, who had collaborated with Cameron in the past, joined Cameron's Avatar to help with the film's designs. In September, Cameron was announced to use his own Reality Camera System to film in 3-D. The system would use two high-definition cameras in a single camera body to create depth perception.

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