|By PR Newswire||
|February 24, 2013 03:46 PM EST||
BURBANK, Calif., Feb. 24, 2013 /PRNewswire/ -- "The Life of Pi," the story of a young man adrift in a life raft with a Bengal tiger, was no simple cinematic endeavor. Logistical hurdles, among other challenges, led many to conclude that "Pi," based on the 2001 novel by Yann Martel, might never make it to the screen. Even director Ang Lee struggled with what he called an "impossible" film. But Lee eventually concluded that the richness and dimensionality of 3D would deepen the story and advance his unique vision.
Lee tapped Chilean-born Claudio Miranda as his cinematographer, in large part because of his work with 3D on "Tron: Legacy" and digital on "Benjamin Button." "Impossible" "Pi" has gone on to become a critical and financial triumph worldwide. The film is nominated for 11 Academy Awards, including a nod to Miranda for best cinematography.
CAMERON | PACE Group was integral to "Pi's" 3D artistry from pre-production to screen, lending both expertise and patented technology to the project. Miranda collaborated closely with CAMERON | PACE Group (CPG) Co-Founder and Co-Chairman Vince Pace on both "Tron" and "Pi." The CPG team was on location in India and Taiwan, where a 1.7-million gallon tank was constructed for water scenes. "Pi" earned CPG Certification, a seal of approval that ensures the highest quality of stereoscopic production and 3D media experience possible.
In the first of its "3D Showcase" series of interviews with leading creative and technical talent around the world, CPG spoke with Miranda at his home in Los Angeles three days before the Academy Awards.
CPG: So have you rented your tux?
Claudio Miranda: Actually, I own one (laughs). I have to.
CPG: Tell us how you got the job on "Life of Pi"
CM: Probably because of "Tron." And a little bit of "Benjamin Button." Ang (Director Ang Lee) had seen both films. "Button" is a good-looking movie full of digital effects, and "Tron" is a good-looking 3D movie. I really didn't imagine Ang being a 3D guy, since his other movies had been shot on film and in scope (the same aspect ratio as CinemaScope). But he knew he had to shoot digital for 3D, so I think that's why I got picked for the job.
CPG: Was "Tron: Legacy" your first experience with 3D?
CM: Yes. There's always talk about doing the 3D in post-production using conversion. There were so many real sets on the film that we felt we should just do it in the camera.
CPG: You worked closely with CAMERON | PACE Group (CPG) on that film. How was that experience?
CM: Just great. Vince (Pace) was there for me in the beginning in Vancouver, along with some other guys from CPG. Vince gave me the basics. Once he saw that I had the hang of it, I carried on.
CPG: We heard that before "Pi" you and Ang Lee educated yourselves about good 3D by studying bad 3D.
CM: Ang and I learned some important lessons from one particularly bad movie that I won't mention. For example, they used a really tight shutter angle that caused strobing (a staccato effect in the motion of the film). It's not a great feeling when you're watching it in the theater. The tighter the shutter, the more crisp each frame. It's like when you're taking a still photograph and you want to capture your kid in mid-air without any blur so you use a very fast shutter speed. But with 3D, in-camera blur can be your friend because the blur between frames makes for a more fluid motion. It eliminates that kind of stutter on the screen and makes the 3D experience less hyperactive. With "Pi" we definitely preferred a faster frame rate and a longer shutter.
CPG: Clearly, the 3D in "Pi" is visually amazing. But it also plays an integral part in the storytelling.
CM: Ang was very sensitive to not overdoing it. Any time characters or objects started to look miniaturized as a result of the 3D, we veered away from that. But there are some cases where it can help with the storytelling. There was one scene where we wanted the lifeboat to look really small so we did spread the eyes (the distance between the two lens centers) to cause a miniaturizing effect. It made the boat look almost like a little toy. This was in service of the storytelling, to reinforce the idea that Pi was alone, a speck on the ocean. We wanted to play with the 3D to reinforce plot and character. When a character is being aggressive, you can get his head out in front, so it feels like he's in your space. Ang loved the idea, too, that in the scene of the sinking ship, Pi is on the viewer's side of the screen. He's watching the ship as it sinks on the inside of the screen. So there's a big visual separation between this new world that's all to be his, and his past, represented by the sinking ship. The 3D really reinforced that part of the story.
CPG: Did you learn anything on "Pi" about 3D that you didn't know before?
CM: For me, "Tron" was really about making good 3D. I didn't really connect it to the way the audience would respond to the story. So doing it from point of view of a story was really something new. I had to think about how to set the 3D up and to stage it. Not just as far as people walking in and out of a room, but also how their placement would affect the emotions of the audience. We also experimented quite a lot with how different lenses might make the audience feel: Is it personal? Is it more intimate? Is it aggressive or passive? Those were new ideas that we played around with.
CPG: James Cameron (co-founder and co-chairman of CPG) said that "Pi" has shown that 3D can be used for smaller, more intimate films. Do you agree?
CM: Ang feels like "Pi" was the first art house movie to be shot in 3D. We felt like we had to explore this new medium. We had to try to figure it out.
CPG: Did shooting "Pi" in 3D affect the decision of cameras you used?
CM: No. We used the Arri Alexa™. We tested with a bunch of cameras. At the time, it held water highlights the best. Cameras are always improving. There will always be a new test to see which one is best for what you need, every time you do a movie.
CPG: Why did you pick CPG for "Pi?"
CM: They get me everything I need. I knew I needed a really good underwater 3D rig. They know the Alexa that would be housed in the rig. I couldn't think of anyone else who could do that, so I didn't even test with anyone else. I talked to Vince and said "I really need this camera rig; we need this thing built." So they did it and it was great. It was my first opportunity to shoot underwater in 3D.
CPG: You also had CPG experts on the set in Taiwan?
CM: We had a number of guys there from CPG, including stereographers who offered advice on the 3D.
CPG: Did you notice any big changes in 3D technology between the time you shot "Tron" and "Pi?"
CM: Vince has shown me some of the newer rigs (smARTrigs ™) and there's a huge improvement in those. They're simpler and easier to use. So even in the short time since we shot "Life of Pi," this equipment has come a long way.
CPG: Did you consider post-production conversion for "Pi?"
CM: No. We had high hopes of keeping a lot of the ocean in the film. I just didn't see how you could cut up and convert water moving away from the camera or rolling toward you or sideways or capping. How do you chop that up and separate that for the conversion process? It just wouldn't have been the same. What I had seen of conversion didn't convince me. I didn't see it happening for either "Pi" or "Tron."
CPG: Do you have a favorite 3D scene in "Pi?"
CM: I think the ship sinking was a good 3D moment. I loved the water in general, how it looked. I did quite a lot of 3D testing for the water scenes-- how it felt when the surface of the water is at the top third of the screen versus the bottom third. It's very interesting. If the water level is halfway up the screen, audiences might have an emotional reaction to that, almost like you're drowning. It's unsettling.
CPG: Do you think "Pi" would have been made without 3D?
CM: Ang really felt that the movie had to be made in 3D. For him it seemed like it was the only choice. Obviously, I've seen this movie in both 3D and 2D. You know, you really do miss some things. The water has this flatter look to it in the 2D. It feels a lot different. With 3D you just have a lot more texture, which was very important in "Pi."
Ang loves 3D. So do I. He will always try to shoot in 3D. He was very excited about the results. He's always talking about creating another language for film, another way to tell the story. So in this impossible story to tell, he felt like 3D would give it another dimension. We still feel like there's so much more to learn from 3D, that there are so many places we can go where we haven't gone.
CAMERON | PACE Group (CPG) is the industry leader in 3D technologies and production services from SLATE2SCREEN™. Led by founders and Co-Chairmen James Cameron and Vince Pace, CPG delivers the highest quality 3D through its technology products, solutions, and creative tools engineered for use across all media channels. Supporting filmmakers, broadcasters, studios, networks and creative teams globally, the company has unparalleled expertise in helping content producers realize the full potential of 3D as a powerful and immersive medium. CPG's easy, efficient, and cost-effective 3D solutions have supported productions generating more than $8 billion in box office, supported 31 3D feature films, close to 300 3D broadcasts, and multiple 3D media experiences in all formats. CPG-supported films and broadcasts have won numerous Oscars® and Emmys® for both technical and creative achievements. For more information about the company, please visit: http://www.cameronpace.com/.
In August 2012, CPG launched CAMERON | PACE Group China in the northeastern port city of Tianjin, just outside Beijing. CPG China is uniquely positioned to support a market that has seen exponential growth in 3D entertainment in the last five years, in large part due to the enormous popularity of CPG co-founder James Cameron's "Avatar" and his recent "Titanic 3D," which scored the biggest box office opening in China's history when it premiered last April. China's pursuit of 3D technology is unparalleled and CPG's Total Solutions technologies will be an integral part of that growth.
SOURCE CAMERON | PACE Group
Mobile, social, Big Data, and cloud have fundamentally changed the way we live. “Anytime, anywhere” access to data and information is no longer a luxury; it’s a requirement, in both our personal and professional lives. For IT organizations, this means pressure has never been greater to deliver meaningful services to the business and customers.
Aug. 1, 2015 11:15 AM EDT Reads: 139
Container technology is sending shock waves through the world of cloud computing. Heralded as the 'next big thing,' containers provide software owners a consistent way to package their software and dependencies while infrastructure operators benefit from a standard way to deploy and run them. Containers present new challenges for tracking usage due to their dynamic nature. They can also be deployed to bare metal, virtual machines and various cloud platforms. How do software owners track the usag...
Aug. 1, 2015 10:30 AM EDT Reads: 192
The Internet of Everything (IoE) brings together people, process, data and things to make networked connections more relevant and valuable than ever before – transforming information into knowledge and knowledge into wisdom. IoE creates new capabilities, richer experiences, and unprecedented opportunities to improve business and government operations, decision making and mission support capabilities.
Aug. 1, 2015 10:00 AM EDT Reads: 283
Chuck Piluso presented a study of cloud adoption trends and the power and flexibility of IBM Power and Pureflex cloud solutions. Prior to Secure Infrastructure and Services, Mr. Piluso founded North American Telecommunication Corporation, a facilities-based Competitive Local Exchange Carrier licensed by the Public Service Commission in 10 states, serving as the company's chairman and president from 1997 to 2000. Between 1990 and 1997, Mr. Piluso served as chairman & founder of International Te...
Aug. 1, 2015 09:45 AM EDT Reads: 381
There are many considerations when moving applications from on-premise to cloud. It is critical to understand the benefits and also challenges of this migration. A successful migration will result in lower Total Cost of Ownership, yet offer the same or higher level of robustness. In his session at 15th Cloud Expo, Michael Meiner, an Engineering Director at Oracle, Corporation, analyzed a range of cloud offerings (IaaS, PaaS, SaaS) and discussed the benefits/challenges of migrating to each offe...
Aug. 1, 2015 09:45 AM EDT Reads: 114
Puppet Labs has announced the next major update to its flagship product: Puppet Enterprise 2015.2. This release includes new features providing DevOps teams with clarity, simplicity and additional management capabilities, including an all-new user interface, an interactive graph for visualizing infrastructure code, a new unified agent and broader infrastructure support.
Aug. 1, 2015 09:45 AM EDT Reads: 170
SYS-CON Events announced today that MobiDev, a software development company, will exhibit at the 17th International Cloud Expo®, which will take place November 3–5, 2015, at the Santa Clara Convention Center in Santa Clara, CA. MobiDev is a software development company with representative offices in Atlanta (US), Sheffield (UK) and Würzburg (Germany); and development centers in Ukraine. Since 2009 it has grown from a small group of passionate engineers and business managers to a full-scale mobi...
Aug. 1, 2015 08:00 AM EDT Reads: 300
One of the hottest areas in cloud right now is DRaaS and related offerings. In his session at 16th Cloud Expo, Dale Levesque, Disaster Recovery Product Manager with Windstream's Cloud and Data Center Marketing team, will discuss the benefits of the cloud model, which far outweigh the traditional approach, and how enterprises need to ensure that their needs are properly being met.
Aug. 1, 2015 08:00 AM EDT Reads: 1,684
Learn how to solve the problem of keeping files in sync between multiple Docker containers. In his session at 16th Cloud Expo, Aaron Brongersma, Senior Infrastructure Engineer at Modulus, discussed using rsync, GlusterFS, EBS and Bit Torrent Sync. He broke down the tools that are needed to help create a seamless user experience. In the end, can we have an environment where we can easily move Docker containers, servers, and volumes without impacting our applications? He shared his results so yo...
Jul. 31, 2015 11:45 PM EDT Reads: 784
Palerra, the cloud security automation company, announced enhanced support for Amazon AWS, allowing IT security and DevOps teams to automate activity and configuration monitoring, anomaly detection, and orchestrated remediation, thereby meeting compliance mandates within complex infrastructure deployments. "Monitoring and threat detection for AWS is a non-trivial task. While Amazon's flexible environment facilitates successful DevOps implementations, it adds another layer, which can become a ...
Jul. 31, 2015 10:15 PM EDT Reads: 313
With SaaS use rampant across organizations, how can IT departments track company data and maintain security? More and more departments are commissioning their own solutions and bypassing IT. A cloud environment is amorphous and powerful, allowing you to set up solutions for all of your user needs: document sharing and collaboration, mobile access, e-mail, even industry-specific applications. In his session at 16th Cloud Expo, Shawn Mills, President and a founder of Green House Data, discussed h...
Jul. 31, 2015 04:30 PM EDT Reads: 430
The Software Defined Data Center (SDDC), which enables organizations to seamlessly run in a hybrid cloud model (public + private cloud), is here to stay. IDC estimates that the software-defined networking market will be valued at $3.7 billion by 2016. Security is a key component and benefit of the SDDC, and offers an opportunity to build security 'from the ground up' and weave it into the environment from day one. In his session at 16th Cloud Expo, Reuven Harrison, CTO and Co-Founder of Tufin,...
Jul. 31, 2015 03:00 PM EDT Reads: 497
In their session at 17th Cloud Expo, Hal Schwartz, CEO of Secure Infrastructure & Services (SIAS), and Chuck Paolillo, CTO of Secure Infrastructure & Services (SIAS), provide a study of cloud adoption trends and the power and flexibility of IBM Power and Pureflex cloud solutions. In his role as CEO of Secure Infrastructure & Services (SIAS), Hal Schwartz provides leadership and direction for the company.
Jul. 31, 2015 11:45 AM EDT Reads: 139
In a recent research, analyst firm IDC found that the average cost of a critical application failure is $500,000 to $1 million per hour and the average total cost of unplanned application downtime is $1.25 billion to $2.5 billion per year for Fortune 1000 companies. In addition to the findings on the cost of the downtime, the research also highlighted best practices for development, testing, application support, infrastructure, and operations teams.
Jul. 31, 2015 11:45 AM EDT Reads: 125
For IoT to grow as quickly as analyst firms’ project, a lot is going to fall on developers to quickly bring applications to market. But the lack of a standard development platform threatens to slow growth and make application development more time consuming and costly, much like we’ve seen in the mobile space. In his session at @ThingsExpo, Mike Weiner, Product Manager of the Omega DevCloud with KORE Telematics Inc., discussed the evolving requirements for developers as IoT matures and conducte...
Jul. 31, 2015 08:45 AM EDT Reads: 305