Have you commissioned your own fi lm? Share your experiences – email
kathleenwhyman@leisuremedia.com
First and foremost, a destina-
LISA TRUITT
president, cinema ventures National Geographic Entertainment
A
true destination fi lm starts with a location – where will the fi lm be shown and what topic and
story will best fi t audiences coming to that venue? But, as with any fi lm, the most important thing is to have a good story to tell and hire a talented team to tell it. Large format fi lm operators considering
a destination fi lm should carefully review previous fi lms made and approach the tal- ent attached to the fi lms they like best or that best represent the style of fi lm they’re hoping to make. Second to that, they’ll need to think about funding. These fi lms cost a lot to make, so they’ll
need to consider whether they can fund the fi lm, pay an advance against future rev- enues or make any other guarantees to the fi lmmaker, so as to raise the funding. Costs are highly variable, depending on
format and size of the screen, whether the fi lm will be 2D or 3D, the length and com- plexity of the production. As an alternative, many classic, large format fi lms are avail- able for lease, but of course may not suit the destination’s needs.
AM 2 2010 ©cybertrek 2010
sense of “being there”. Athough the result of a fulldome fi lm is
F
truly amazing, creating these types of fi lms creates challenges that are specifi c to the high resolution immersive formats. When a venue operator is considering hiring a
tion fi lm should be entertaining. It should have high production qual- ity and be a valuable addition for the audience. It should enrich and enhance (rather than duplicate) the visitor’s experience in a fun and meaningful way. Using 3D
technology makes it really appealing and fun for audiences – box offi ce returns tend to show that audiences want 3D. Any new project should consider 3D production. Technical requirements for making a fi lm
are driven by the screen size and projector type. The bigger the screen, the more reso- lution needed in the image capture.
studio to help them make a fulldome fi lm, there are several considerations. The fi rst is the kind of story they want to tell. Can the story be told with non-photorealistic rendering or does it require something photo-real? Will it require live action? Do they trust the aesthetic of the studio that they are entrusting their story to? Typically, there are two methods that are
used for fi lm-making – live-action and CGI. At the time of writing, there’s no full motion camera that can capture a full 180-degree hemispherical image at the 4096 by 4096 pixel resolution that fulldome requires. We made our fi lm Crossing Worlds
GREG DOWNING
president XRez Studio
to test a hybrid workfl ow that combines aspects of high-resolution still photography, live-action and CGI to optimise the advantages of each. The primary method we used in the fi lm was to use the very high level of detail that can be achieved with stitched panoramic photography. We then virtually projected those images
ulldome fi lms are an incredible medium for impressing an audi- ence and giving a very strong
onto simple 3D geometry of the scene in Maya. This gave us the realism and detail from the photography and allowed us to move the camera in CG. We then added CGI elements, such as birds and water and composited live-action waterfalls, clouds and fi re. When these elements were com- bined the result was a photorealistic scene that had all the fl exibility of 3D. ●
Read Attractions Management online
attractionsmanagement.com/digital
35
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