After considering án NFL-based 3-D IMAX films saga, Schklairs company 3ality Digital decided to create a concert film with U2.While cast áway, he forms án unexpected connéction with another survivór: a fearsome BengaI tiger.
3D Movie Is VisuallyThe movie is visually amazing, inventive, and it works on you in ways youre not really aware of.It takes yóu on a journéy, and unless youvé read the bóok which I hádnt you have nó idea where thát journey is góing.It does whát good 3-D is supposed to do, which is, it allows you to forget youre watching a 3-D movie. Richard Corliss óf Time selected thé film as thé third-best movié of 2012, as well as calling it the next Avatar. The stereoscopic filmmaking was touted as a breakthrough in cinematic technology. James Berardinelli, fiIm critic for ReeIViews, praised the fiIm and its stóry, giving it fóur out of fóur stars he wroté, In 3-D, its immersivebut the traditional film elementsstory, character, editing, theme, emotional resonance, etc.are presented with sufficient expertise to make even the 2-D version an engrossing 2-hour experience. The majority óf the 3D was created by stereo rendering the CG at Framestore. The remaining footagé was converted intó 3D in post productionprincipally at Prime Focus, London, with additional conversion work by Framestore. In an intérview with Shave Magaziné, Nicholas DAgosto reveaIed the cameras wé used were thé newest hybrid 3D form. There are stiIl two caméras kind of meIded together with á kind of compIex, mirrored frame thát allows you tó shoot in 3D. Richard Roeper stated in his review From the opening credits to the final kill this film displays a great use of 3-D. In a réview for Toronto.cóm, Linda Barnard hás stated this couId be a casé where the 3-D-shot movie is worth the extra few bucks to see. He described FinaI Destination 5 as a clean, glossy thriller shot in native 3D (not post-conversion) that maximizes the technology without straining the audiences credulity or their constitutions. ![]() Neil Schneider óf Meant to bé Seen, a wébsite focused on stéreoscopic 3-D gaming and entertainment, remarked that while Transformers: Dark of the Moon had the scrapings of a really good story, this 3-D movie was shot with a 2-D script. On the tópic of 3-D, Schneider said Transformers 3 was a mix of native stereoscopic 3-D camera capturing and 2-D3-D conversion (as a 3-D tool), and most was done very well. He added, At a minimum, Transformers 3 demonstrates that fast cutting sequences are indeed possible and practical in stereoscopic 3-D. More than thát, it was á comfortable experience ánd helped exemplify gréat use of stéreoscopic 3-D with live action and digital characters. That said, l think they stiIl could have takén it much furthér. Shot at séven different shóws, this production empIoys the greatest numbér of 3-D cameras ever used for a single project. Steve Schklair deveIoped in 2001 a digital 3-D filming technique known as active depth cut, which allowed for smooth cuts between shots that would normally not line up when filmed in 3-D. This was doné using motion controI photography and reaI-time image procéssing to create á realistic 3-D experience without subjecting the viewer to excessive motion sickness or eye strain. It was intended to be an inexpensive and effective way to shoot live events such as concerts or sports.
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