American Cinematographer - December 2011 - 96

The epic world of the film includes the cliffside village of Kapros.

Freida Pinto. We used 3-D to enhance both actors’ physicality so that Cavill’s rippling muscles and Pinto’s flawless skin and lush contours would be as appealing onscreen as they are in person. In another example, Mickey Rourke, playing King Hyperion, often handled props, leaned against walls or placed his hands on his head in agony. Because Rourke brought such a focus to his hands, it was important to give them, along with his overall physical carriage, their own place in 3-D. Throughout the film, we regulated the overall depth from scene to scene and even from frame to frame. As Tarsem pointed out, sometimes it is best to let certain scenes look flatter so that when more pronounced 3-D comes back, the audience really feels the effect. He also noted that his style, which favors many long tableaux, lends itself particularly well to 3-D. Movies that are reliant on rapid-fire editing may linger unnaturally long on certain shots to show off a 3-D effect, but if those longer shots are shown in 2-D, they suddenly seem too long and awkwardly edited. Because this longer style of editing was part of Tarsem’s approach, it was incumbent upon our teams to keep the eye moving around the scene with wellsculpted forms.
96 December 2011

Our team worked daily with Ben Murray, Prime Focus’ talented stereographer, and his lead artists to execute the depth plan. As shots were completed, Ben would review each one for consistency and quality. The movie is just under 2,000 shots long, so counting left eye and right eye, we created 4,000 shots, plus another 1,000 matte elements, for a total of more than 5,000 shots — a very daunting job! Immortals is an effects-heavy show, and many scenes were shot against greenscreen, which required additional coordination between the visual-effects and 3-D teams. At first glance, it might seem as though the visual-effects world would naturally integrate into 3-D work, but it’s not that simple. Though some effects artists and facilities are very receptive to working in 3-D, and many of the tools are the same, you get a range of reactions to 3-D from CGI artistic teams. Stereo 3-D is old technology, but to production communities today, we are in pioneer territory. Not many people have delivered 3-D from CG houses, and deliveries for stereo conversion must always be managed. At times, the visual-effects vendor would export entire composites and even entire workflows to Prime Focus, as there would be fine detail, or translucent elements in images, that couldn’t be
American Cinematographer

isolated with rotoscoping alone. About two-thirds of the composite shots were handed off for 3-D work as elements or mega-composites. Johnathan Banta, our technical 3-D specialist, led the initial effort to guide the visual-effects vendors on proper turnovers to Prime Focus. (He also assisted on the 3-D composite Sistine Chapel shots at the end of the movie.) As the cut developed, the Relativity design team’s main goal was to monitor shots and give Prime Focus the creative edge to start the roto process early, while keeping them updated on the progression of the cut. Chris Brown oversaw this process, making sure all the vendors and post departments were communicating constantly. Together we built a pipeline to suit our needs. Along with Prime Focus producer Rohan Desai and Prime Focus production manager Franklin Mascarenhas, we set up a global 3-D production workflow and data-movement pipeline to move images across three continents for review and approval by the director and studio. The Prime Focus production team monitored the budget and worked with other Prime Focus departments to assign and supervise the teams in charge of rotoscoping and View-D, the company’s proprietary 3-D conversion tool. The Relativity design team and visual-effects producer



American Cinematographer - December 2011

Table of Contents for the Digital Edition of American Cinematographer - December 2011

American Cinematographer - December 2011
Contents
Editor’s Note
President's Desk
Short Takes: OK Go’s “Muppet Show Theme Song”
Production Slate: Melancholia • Tinker Tailor Soldier Spy
Stepping into the Shadows
Through a Child’s Eyes
Silent Splendor
It’s Time to Raise the Curtain
Filmmakers’ Forum: David Stump, ASC
New Products & Services
International Marketplace
Classified Ads
Ad Index
2011 AC Index
In Memoriam: Andrew Laszlo, ASC
ASC Membership Roster
Clubhouse News
ASC Close-Up: Luciano Tovoli, ASC, AIC
American Cinematographer - December 2011 - American Cinematographer - December 2011
American Cinematographer - December 2011 - Cover2
American Cinematographer - December 2011 - 1
American Cinematographer - December 2011 - 2
American Cinematographer - December 2011 - Contents
American Cinematographer - December 2011 - 4
American Cinematographer - December 2011 - 5
American Cinematographer - December 2011 - 6
American Cinematographer - December 2011 - 7
American Cinematographer - December 2011 - Editor’s Note
American Cinematographer - December 2011 - 9
American Cinematographer - December 2011 - President's Desk
American Cinematographer - December 2011 - 11
American Cinematographer - December 2011 - Short Takes: OK Go’s “Muppet Show Theme Song”
American Cinematographer - December 2011 - 13
American Cinematographer - December 2011 - 14
American Cinematographer - December 2011 - 15
American Cinematographer - December 2011 - 16
American Cinematographer - December 2011 - 17
American Cinematographer - December 2011 - Production Slate: Melancholia • Tinker Tailor Soldier Spy
American Cinematographer - December 2011 - 19
American Cinematographer - December 2011 - 20
American Cinematographer - December 2011 - 21
American Cinematographer - December 2011 - 22
American Cinematographer - December 2011 - 23
American Cinematographer - December 2011 - 24
American Cinematographer - December 2011 - 25
American Cinematographer - December 2011 - 26
American Cinematographer - December 2011 - 27
American Cinematographer - December 2011 - 28
American Cinematographer - December 2011 - 29
American Cinematographer - December 2011 - 30
American Cinematographer - December 2011 - 31
American Cinematographer - December 2011 - 32
American Cinematographer - December 2011 - 33
American Cinematographer - December 2011 - 34
American Cinematographer - December 2011 - 35
American Cinematographer - December 2011 - Stepping into the Shadows
American Cinematographer - December 2011 - 37
American Cinematographer - December 2011 - 38
American Cinematographer - December 2011 - 39
American Cinematographer - December 2011 - 40
American Cinematographer - December 2011 - 41
American Cinematographer - December 2011 - 42
American Cinematographer - December 2011 - 43
American Cinematographer - December 2011 - 44
American Cinematographer - December 2011 - 45
American Cinematographer - December 2011 - 46
American Cinematographer - December 2011 - 47
American Cinematographer - December 2011 - 48
American Cinematographer - December 2011 - 49
American Cinematographer - December 2011 - 50
American Cinematographer - December 2011 - 51
American Cinematographer - December 2011 - 52
American Cinematographer - December 2011 - 53
American Cinematographer - December 2011 - Through a Child’s Eyes
American Cinematographer - December 2011 - 55
American Cinematographer - December 2011 - 56
American Cinematographer - December 2011 - 57
American Cinematographer - December 2011 - 58
American Cinematographer - December 2011 - 59
American Cinematographer - December 2011 - 60
American Cinematographer - December 2011 - 61
American Cinematographer - December 2011 - 62
American Cinematographer - December 2011 - 63
American Cinematographer - December 2011 - 64
American Cinematographer - December 2011 - 65
American Cinematographer - December 2011 - 66
American Cinematographer - December 2011 - 67
American Cinematographer - December 2011 - Silent Splendor
American Cinematographer - December 2011 - 69
American Cinematographer - December 2011 - 70
American Cinematographer - December 2011 - 71
American Cinematographer - December 2011 - 72
American Cinematographer - December 2011 - 73
American Cinematographer - December 2011 - 74
American Cinematographer - December 2011 - 75
American Cinematographer - December 2011 - 76
American Cinematographer - December 2011 - 77
American Cinematographer - December 2011 - It’s Time to Raise the Curtain
American Cinematographer - December 2011 - 79
American Cinematographer - December 2011 - 80
American Cinematographer - December 2011 - 81
American Cinematographer - December 2011 - 82
American Cinematographer - December 2011 - 83
American Cinematographer - December 2011 - 84
American Cinematographer - December 2011 - 85
American Cinematographer - December 2011 - 86
American Cinematographer - December 2011 - 87
American Cinematographer - December 2011 - 88
American Cinematographer - December 2011 - 89
American Cinematographer - December 2011 - 90
American Cinematographer - December 2011 - 91
American Cinematographer - December 2011 - 92
American Cinematographer - December 2011 - 93
American Cinematographer - December 2011 - Filmmakers’ Forum: David Stump, ASC
American Cinematographer - December 2011 - 95
American Cinematographer - December 2011 - 96
American Cinematographer - December 2011 - 97
American Cinematographer - December 2011 - 98
American Cinematographer - December 2011 - 99
American Cinematographer - December 2011 - New Products & Services
American Cinematographer - December 2011 - 101
American Cinematographer - December 2011 - 102
American Cinematographer - December 2011 - 103
American Cinematographer - December 2011 - International Marketplace
American Cinematographer - December 2011 - Classified Ads
American Cinematographer - December 2011 - Ad Index
American Cinematographer - December 2011 - 2011 AC Index
American Cinematographer - December 2011 - 108
American Cinematographer - December 2011 - 109
American Cinematographer - December 2011 - 110
American Cinematographer - December 2011 - 111
American Cinematographer - December 2011 - 112
American Cinematographer - December 2011 - 113
American Cinematographer - December 2011 - In Memoriam: Andrew Laszlo, ASC
American Cinematographer - December 2011 - 115
American Cinematographer - December 2011 - ASC Membership Roster
American Cinematographer - December 2011 - 117
American Cinematographer - December 2011 - Clubhouse News
American Cinematographer - December 2011 - 119
American Cinematographer - December 2011 - ASC Close-Up: Luciano Tovoli, ASC, AIC
American Cinematographer - December 2011 - Cover3
American Cinematographer - December 2011 - Cover4
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