Adding 3D effects or converting 2D to 3D is no longer on option when it comes to producing a quality cinematic experience, as the scrapped attempt to rush this process on Harry Potter and the Deathly Hallows 1 (2010) demonstrated. Filmmakers wishing to tempt audiences out from in front of their home entertainment centres, in the age of Blu-ray, HD and 3D television had to deliver a more unique and believable experience, as James Cameron's Avatar attempted to do.
Like Cameron, Peter Jackson has been at the forefront of bringing innovative technologies in film production and filmmaking, yet neither managed to supersede the 35mm celluloid traditional camera, until now. By 2011, the future of film production looked like a race between the tacked-on technologies of existing camera manufacturers such as Sony and Canon, or the unique custom build of Red Cinema products.
Sony Digital Fusion Camera System for Avatar
James Cameron, with Vince Pace, developed this multi-million dollar system. Pace’s concept combined two Sony HDC-950 HD cameras (later upgraded with Sony HDC-F950s) with lenses that could dynamically adjust the angle of their convergence to match the depth of objects within the Z field (a term that describes 3D space). This significantly improved the 3D viewing experience, and increased flexibility for manipulation of image depth effect. The cameras were used for filming live action scenes in New Zealand.
“A key enhancement to our Fusion Camera System used on ‘Avatar’ has been our ability to introduce a software algorithm that controls the convergence so we can extract the best stereo from a shot based on metadata such as focal length and distance to the subject,” Pace explained to Jay Ankeney during the post-production phase on Avatar 1 (2009).
Cameron committed to making two sequels to Avatar: "In order to do that," he said, "we have to refine our technical processes beyond the end of where we were finishing 'Avatar 1' a year ago, because we need to future-proof ourselves five or six years to the end of the third film.”
Future-Proof Digital 3D Stop Motion Animation at Aardman
In 2010, Aardman Animations in Bristol, UK, home of successful features like Oscar-winning Wallace & Gromit: The Curse of the Were-Rabbit (2005) changed to Canon EOS 1D digital stills cameras for their stop motion animation feature films, and put their 40 traditional Mitchells into store. Their on-going programme of feature film creation includes the Pirates! three picture series, backed by Sony.
"Pirates! is an ambitious film," says Bob Osher, president of Sony Pictures Digital Production, which is financing it. "The set is spectacular and the movie will be in 3D, which only adds to complications in terms of production." James Silver told Wired Magazine readers.
The new equipment offers a simple user interface, self-cleaning sensor and high-ISO images. Peripheral-illumination correction keeps brightness consistent across the entire image while the auto lighting optimiser boosts shadow detail. Its usefulness for stop motion animation lies in the full manual control over video that allows the filmmaker to micromanage every frame.
Digital cameras significantly speed up the filmmaking process over traditional celluloid reels.
Directors no longer have to wait for 'rushes' to be developed and delivered back for viewing. At Aardman, for instance, each set could not be dismantled until after a motorbike messenger had brought back the day's developed footage and it had been viewed. With digital, the monitor shows immediately whether the crew got their shot right, which they find "liberating" James Silver reports. It saves time, and processing costs, too.
Red Epic 3D Cinematography for The Hobbit
Peter Jackson's take on the coming of new filmmaking technologies is very positive. He placed an order for 30 Red Epics at a cost of approximately $58,000 each, for 3D filming of his 2011-2012 production, The Hobbit. These are small and light and can easily be mounted side-by-side for 3D image filming and, being battery driven, have no cables. He went on record, saying he believed that they offer the most filmic final image of any digital equipment.
"As much as we all love 35mm, it's not got much longer to go," he said.
Jackson is mainly interested by the artistic possibilities of digital cinematography. He suggests new options as more practical than old fashioned 35mm, pointing out that the usual 2k resolution of digital pictures was quickly superseded by the 4k option, which is just as good. Four thousand pixel resolution gives brighter colour, contains more visual information which offers clearer detail, particularly in shadowed areas. He also believes that tungsten light gives a more artistic effect and clearer skintones.
Movies shot with Red Digital technology include Neill Blomkamp's (2009) District 9 and David Fincher's (2010) Social Network; Jackson used a Red Clarice to establish certain artistic features on (2009) The Lovely Bones. Directors known to be particularly keen on this innovative filmmaking technology also include Steven Soderbergh, while Martin Scorsese, shooting in 3D The Invention of Hugo Cabret, reportedly remained obsessed with the "sound of the sprockets" and the "feel of 35mm".
Sources
Jay Ankeney (2009) 'Behind the Post of Avatar' TV Technology 15 December
Jim Jannard (2010) 'Peter Jackson's The Hobbit to be shot on Epic!'
Peter Jackson (2010) Video presentation at REDucation
James Silver (2010) 'How Aardman is embracing the digital age' Wired Magazine December
Valerie Williamson - Dr. Val Williamson is a freelance journalist and academic specialising in historical and popular culture topics.
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