posted 07-03-2009 04:46 PM                   

quote:

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Shock: What 3-D process are you using for this film?

Aja: It's very bizarre because we started the process by talking about using the new system that James Cameron used [for Avatar]. I realized along the way that those cameras were forcing me, first, to shoot in HD and then there were too many technical parameters that were not good. So, we heard about a new technique they were developing that nobody really used before which is the conversion. The conversion is more expensive, much more work in post-production. You're basically shooting the movie in the traditional way thinking 3-D and then the whole movie would be converted by computer. The camera in 35mm is shooting all of us here and then the computer is going to modelize each of us in 3-D and inside the computer you're going to screen, you're going to project the image on the 3-D model and you create that space and that whole style. It's very complicated. I was kind of like, "Oh, it's impossible it's not going to feel natural," and I saw 20 minutes of King Kong being converted and it's the best thing I've ever seen. When I see 20 minutes of that, I mean, I don't understand why the studio is not finishing the movie and releasing the movie again in 3-D. It's the best, best, best, best. I've also seen stuff from The Matrix and from Star Wars, the original.

Shock: Whoa. They're just converting it for 3-D?

Aja: Yeah, it's unbelievable. It's not like black and white convert in color where you see that it's stained and it's not natural. It's amazing, there is no word. It was great for us because we are shooting for real on cinemascope anamorphic on film, shooting it as a normal movie. So, it's much faster and we have a full control on the 3-D. Without being presumptuous, I think the 3-D experience on Piranha is going to be the best one that's ever made.

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So let me re-count.

Fake Imax.

Perhaps, fake DLP 4K.

Now, fake Digital 3-D.

And then we complain about fake products from china ...

posted 07-03-2009 07:49 PM                   

quote:

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But one combination CG/live-action film, Disney's August release "G-Force," took a unique approach as the scenes were converted to 3-D in postproduction, rather than shot with a 3-D rig.

The reason is that "G-Force" originally was planned as a 2-D title.

"The decision to release in 3-D was made halfway through shooting," recalls visual effects supervisor Scott Stokdyk of Sony Pictures Imageworks, which created a virtual second camera for the CG 3-D, then combined the elements in post with the live action 3-D (created by In-Three, a Westlake Village, Calif.-based company that calls its proprietary service "dimensionalization"). "We had a variety of camera rigs and setups and very tight quarter shooting, so we had to be extremely flexible."

This approach allowed director Hoyt Yeatman to work with his editorial staff and VFX crew in a normal way and deal with the stereo issues at the very end of the proces. The live-action material then went through a 3-D post conversion process at In-Three.

"You have to plan ahead when you are composing 3-D shots, but it's not so much of an imposition as when you have to work on the right and left eye throughout the process," Stokdyk says.

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So we don't need to worry about 3D film availability. Hollywood can just shoot a film normal in 2D and then have a computer figure out how it should look in 3D and voilá, triple the profits.