Wednesday, January 14, 2009

How Not to Make a 3D movie

Watch TV on PC - 12,000 TV Channels and Movies

Since it debuted half a century ago, 3D cinema has mainly been a gimmick. To date, perhaps my favorite of the all these movies is a short horror film farce by the Three Stooges, because it fully embraces the silliness of 3D, using every gag imaginable, with no pretensions of it being an art form.

But 3D can be taken seriously if it’s done right, says Jon Landau, producer of the (admittedly somewhat hokey) blockbuster Titanic, who is now working with his director partner Jim Cameron on the live action 3D flick Avatar. He extolled the virtues of 3D at the Consumer Electronics Show during a press event in which Panasonic announced plans to bring 3D capabilities to its plasma TVs and Blu-ray players.

The trick to making a 3D film that isn't gimmicky, says Landau, is not to think too much about the 3D. "You have to be careful not to fall into the trap that the imagery would suggest to you, which is 'stay on me longer, look how real I am, stay on that shot,'" he explained. "It's like transferring from black-and-whit to color. Just because it's in color doesn’t mean I want to hang on the shot of the flower longer while the lead actor is talking."

In fact, all the editing for Avatar is being done on a 2D version of the film, which takes the perspective from the "left-eye" of the two-camera setup. Afterwards, the same edits are carried over to the right-eye video. "We fought to hold to the standard cinematic techniques," he said, following the same rules that make a good-looking 2D film rather than getting caught up in the 3D effects.

source

Watch TV on PC - 12,000 TV Channels and Movies

New Photo: On The Set of James Cameron’s Avatar

Watch TV on PC - 12,000 TV Channels and Movies

We’ve seen a few production photos from James Cameron’s Avatar thus far, but most of them consisted of Cameron and crew huddled behind monitors looking off into the distance at something we can only assume is cool. We can only assume, because we never see what exactly they’re looking at.

Well the New York Times has an interesting set photo which actually shows a bit more than the usual. Cameron is standing in a set which appears to be some kind of alien space craft (I could be totally wrong, and I’m sure someone who has actually read Cameron’s scriptment will correct me in the comments). Full photo after the jump.

source

Watch TV on PC - 12,000 TV Channels and Movies

Saturday, January 10, 2009

Analyst: Imax more essential to movie studio plans

Watch TV on PC - 12,000 TV Channels and Movies Associated Press, 11.19.08, 10:29 AM EST
pic

Imax Corp.'s new five-movie deal with Walt Disney Co. indicates the large-screen format is becoming more essential to film studios' plans, an analyst said Wednesday.

Disney (nyse: DIS - news - people ) announced earlier Wednesday it will deliver five movies via Imax theaters beginning in November 2009 with the 3-D movie "A Christmas Carol," starring Jim Carrey.

Marla Backer of Soleil Securities Group Inc. said the Disney agreement, which follows a deal Imax signed with DreamWorks Animation SKG (nyse: DWA - news - people ) Inc., shows the studios understand they need to secure their spots with Imax before others do.

"With Disney, all of the major studios have recently released films or have upcoming titles on the Imax platform," she wrote in a client note.

A rise in popularity of 3-D movies is also helping Imax, Backer added, with two highly anticipated films, "Monsters vs. Aliens" and "Avatar," set to run on Imax screens next year.

Shares of Imax gained 19 cents, or 5.9 percent, to $3.40 in morning trading. Over the past year, the stock has traded between $2.70 and $8.28.

Watch TV on PC - 12,000 TV Channels and Movies

Saturday, January 3, 2009

Virtual Guantanamo Bay creator speaks at UCSC

Watch TV on PC - 12,000 TV Channels and Movies

Documentary filmmaker and self-described transmedia producer Nonny de la Pena spoke at UC Santa Cruz Wednesday about "Gone Gitmo," a virtual reality film project about Guantanamo Bay.

"Gone Gitmo" is a representation of Guantanamo Bay inside an online virtual world called Second Life. De la Pena, who also made a documentary film about Guantanamo Bay called "Unconstitutional" in 2004, worked with Peggy Weil, a visiting associate professor of cinematic arts at the University of Southern California, to build the virtual space in 2007.

"The real prison is completely inaccessible to all but a very few lawyers and NGOs," de la Pena said. "We wanted to build an accessible space, to increase the conversation."

Every Second Life user has an avatar, a 3-D graphic to represent him or herself. Ordinarily, a user has complete control over the avatar's movements. But as soon as your avatar dons its orange jumpsuit and enters the "Gone Gitmo" installation, de la Pena explained, that control is taken away.

The screen goes blank as a prison guard drops a black hood over your head, and you hear sounds taken from real Guantanamo Bay footage as you are taken to the prison in a military transport plane. When the hood is removed, your avatar finds itself kneeling in a small cage, which was based on photographs of Camp X-Ray where detainees were held.

"People find it disturbing," de la Pena said. "People have true physiological responses to their avatar."

At this point, de la Pena said, you regain control of your avatar, and can explore the facility. But you are constantly confronted on all sides, including the floor, with videos of real prisoners being led around the camp. The videos were released by the Department of Defense.

There is no torture chamber in "Gone Gitmo."

"We didn't want to trivialize that," de la Pena said.

Instead, there is a "contemplation chamber," where you can read and hear quotes from public figures who advocate closing Guantanamo Bay, poems written by detainees, and transcripts of interrogations.

Since only people who are signed up for Second Life can experience "Gone Gitmo," de la Pena worked with blogger Berhnard Drax to make a "machinima," a fusion of machines and cinema, report depicting the experience. Drax was recently given the "Every Human Has Rights" media award for the report, and will go to Paris in December for a ceremony celebrating the 60th anniversary of the Universal Declaration of Human Rights. "Gone Gitmo" has also been featured in publications like Vanity Fair, NewScientist and the Chronicle of Higher Education.

The talk was part of the Art, Technology, and Culture colloquium at UC Santa Cruz. The small audience consisted mainly of students and faculty from the university's digital arts and new media department, said department chair Sharon Daniel.

source

Watch TV on PC - 12,000 TV Channels and Movies

Saturday, December 27, 2008

Katzenberg: 3-D vision goes beyond animation

Watch TV on PC - 12,000 TV Channels and Movies

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.

Source Watch TV on PC - 12,000 TV Channels and Movies

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.

Source
Watch TV on PC - 12,000 TV Channels and Movies

Saturday, December 13, 2008

Avatar Movie Production: Filiming and Effects

Watch TV on PC - 12,000 TV Channels and Movies

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.

source

Watch TV on PC - 12,000 TV Channels and Movies