EUROPEAN 3D POST-PRODUCTION


when combining CG with live action because any alteration to one image needs to be meticulously synchronised with the other,” says Sargent. “That’s when producers need to decide whether to shoot the whole project in stereo or to plan post conversion.” While facilities such as Cinesite pitch


themselves as a premium conversion service, several others are reporting interest among studios for bulk convert- ing 2D library titles for theatrical re- release or to fuel 3D TV networks. “The cost of back-catalogue title con-


version may be too high when aligned against the revenue available from dis- tribution in the home entertainment or television markets; profits or margins could be negligible for the content own- ers,” warns Richard Fish, commercial


‘The cost of back- catalogue title conversion may be too high when aligned against


POST OVERVIEW: UNITED KINGDOM


The UK post industry has a strong track record working on major 3D productions and is upping its capabilities


The UK’s big four VFX houses — Double Negative, Moving Picture Company (MPC), Framestore and Cinesite — are confident of attracting 3D work as a by-product of their track record in completing shots for major studio projects. Cinesite has made the biggest splash, taking on 100 artists and 7,000


square feet of additional space to manage 3D shots for Pirates Of The Caribbean: On Stranger Tides. Technicolor-owned MPC has also won 250 shots on the film. Among its investments are the first three units anywhere of Truelight’s 3D player, which allows operators to make adjustments during client shot-review sessions. Since compositing CG sequences for Avatar, Framestore has worked on 3D


trials for BSkyB but no further stereo feature work. Its large render farm and VFX pipeline, however, are primed for 3D work, according to CEO William Sargent. Prime Focus London (PFL) is specialising in 3D conversion and has 65 artists


dedicated to the process. “Our LA office is converting three to four features concurrently and we’re looking for London to do the same,” says senior producer Matt Bristowe. Digital lab and mastering service Deluxe Digital spent $3.2m (£2m)


Framestore composited sequences for Avatar


upgrading its European hub in London, $807,000 (£500,000) of which is directly connected to demand for 3D subtitling. “We’ve quadrupled the amount of suites,” says commercial director Richard Fish. Earlier this year, Technicolor Creative Services upgraded its digital


intermediate (DI) capabilities in London with the addition of a Baselight grading station. The investment was made to help fulfil post-production on bookings for four stereo features. One of the four is a major studio feature for which the facility is handling all post. The company’s film printing division is able to produce Technicolor’s proprietary over/under 35mm format for delivery to exhibitors with 35mm projectors. The system requires the use of circular polarised glasses and cinemas outfitted with silver screens. Despicable Me and Shrek Forever After have gone down this route for the UK market alongside a digital 3D release. Lower budget productions are also finding a UK home. For the $6.4m (£4m)


MPC stereographer Damien Fagnou at work The Flying Machine


The Mortician 3D, Molinare installed a Dolby projection system. The facility is also editing the live action and producing the digital cinema package (DCP) for BreakThru Films’ animation The Flying Machine.


n 14 Screen International European 3D special 2010


director, Deluxe Digital. “The pricing model needs reviewing.” Producers also have to take into


account the project’s distribution chan- nels. What works stereoscopically in an Imax theatre will, in most cases, need to be altered for Blu-ray or TV distribution. Catering for different digital 3D projec- tion systems can also add to back-end costs as can the positioning of subtitles within 3D space, which is not yet as straightforward as 2D titling.


available revenue’ Richard Fish, Deluxe Digital


Growth in lower budget projects Locally produced animated features and studio-backed VFX projects have led the way but as 3D technology matures and becomes more widely available Euro- pean producers have begun routing lower budget projects into post locally.


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Vertigo Films pioneered a financially


successful model with StreetDance 3D, which posted at Berlin’s Post Republic; Wim Wenders’ dance documentary Pina completed at Das Werk, and UK-US co-production The Mortician 3D at Molinare. Werner Herzog’s 3D docu- mentary Cave Of Forgotten Dreams sourced rigs, crew and location editing from the UK’s Esprit Film & TV and British Technical Films. “The European film-making tradi-


tion, particularly in France and Italy, has been reluctant to embrace 3D,” notes digital film and 3D consultant David Bush. “Producers and directors are learning that 3D is not just a theme park experience but is one which can be used to amplify emotions and therefore suit- able for all genres.”


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