News Stories

4th ‘Pirates’ adventure sails to cinemas in 3D! [Philippines]

[by Manila Bulletin]

A larger-than-life Jack Sparrow, in his three-dimensional swashbuckling glory? Get this and more when Walt Disney Pictures’ “Pirates of the Cariibean: On Stranger Tides” sails to theaters in full, immersive 3D.

 

“On Stranger Tides” is the first “Pirates” flick shot with digital 3D cameras. The filmmakers make good use of the 3D imagery in action sequences, which include a shot where Penelope Cruz’s character, Angelica, tries to stab Depp’s Capt. Jack through a closed door, her sword leaping off the screen right at the audience.

 

Producer Jerry Bruckheimer and director Rob Marshall were interested from the start in doing the movie in 3D, which can boost revenues since fans pay a few dollars more than they do to see 2D versions.

 

“But the technology scared us a little, only because, you saw ‘Avatar,’ that was all done on sound stages. Nobody had ever taken these cameras out into the jungles and did a big adventure picture,” Bruckheimer says.

 

“Rob did an enormous amount of research with the cinematographer, and we finally went to Disney and said, ‘Look, we really think we can do this.’ And they thought about it for a while, because it increases the costs, but in the end, they agreed with us and said, ‘Let’s go for it.'”

 

Meanwhile, Johnny Depp’s tour guide on his “Pirates of the Caribbean” voyages is plotting the course for a fifth installment even before the fourth movie voyages into cinemas.

 

Bruckheimer says he has a screenplay in the works for a fifth “Pirates” tale after May’s “On Stranger Tides” comes out. Based on the Disney theme-park ride, the original three “Pirates” blockbusters ended up as a trilogy continuing the same key characters and story line. Bruckheimer says “On Stranger Tides” and future “Pirates” flicks will be stand-alone stories continuing the adventures of Depp’s woozy buccaneer Capt. Jack Sparrow.

 

Bruckheimer and Marshall showed off footage recently at CinemaCon, a Las Vegas convention of theater owners. At test screenings of “On Stranger Tides,” “the audience told us what they loved about it is that it was fresh, it was new, it was a whole new story,” Bruckheimer said in an interview alongside Marshall. “So that will carry over into the next one, too, to give it something fresh and different. As long as the audience embraces this one, we’ll certainly try to make another one. It’s really up to Johnny. He loves the character.”

 

Geoffrey Rush reprises his role as Jack’s rival, Barbossa, who has switched sides, no longer a pirate but a privateer sailing on the orders of the British monarchy. Penelope Cruz co-stars as the fiery daughter of the pirate Blackbeard (Ian McShane).

 

Marshall popped the question about co-starring in the “Pirates” sequel over dinner with Cruz while he was directing her in the musical “Nine.”

 

“She jumped out of her chair and said, ‘Oh, my God. I’d love to. I’ve always wanted to do an adventure like this.’ So it was perfect,” Marshall said. “I had mentioned her to Jerry and Johnny, and immediately they said yes, that seems exactly right. Because there are not that many people that really can match him. He’s so unique, and he has so many different characteristics. Charisma and sex appeal. He’s funny and he’s athletic and he’s a strong actor. So who can match that?”

See the original story here:  http://www.mb.com.ph/articles/315967/4th-pirates-adventure-sails-cinemas-3d

Journey Into the Fascinating World of ARABIA 3D

 

[Press Release]

For thousands of years, culture, faith and innovation have flourished alongside each other in the desert wonderland of the Arabian Peninsula. Now, MacGillivray Freeman Films’ ARABIA 3D offers filmgoers a deeper look at a fascinating culture told through powerful storytelling that bridges cultures and promotes understanding. Narrated by Academy Award®-winning actress Helen Mirren, ARABIA 3D will begin a seven-month engagement at the California Science Center IMAX Theater, opening on May 27, 2011.

As the first major production filmed entirely in Saudi Arabia, the film explores the extraordinary 2,000-year history of Arabia through the eyes of three contemporary citizens: Hamzah Jamjoom is a film student at Chicago’s DePaul University who returns home to Saudi Arabia to make a movie about his country; Nimah Nawwab is a poet, writer and photographer who offers the female perspective on Arabia; and Dr. Daifallah Al-Talhi is a leading Arabian archeologist who is excavating the lost Nabataean city of Madain Saleh. All three are deeply invested in both their homeland’s luminous past and rapidly evolving future.

“No other medium can convey the culture and atmosphere of another land as well as a 3D IMAX film,” says the film’s producer/director Greg MacGillivray, who has twice been nominated for an Academy Award. “We spent months shooting in places where no cameras of any kind have ever been so that we could better understand this important part of the world and offer a fresh, honest portrait. This is a film full of surprises, including the surprise of how much, underneath it all, our people and cultures share in common.”

With unprecedented access to more than 20 locations, including Islam’s two holiest sites of Mecca and Medina, images of contemporary life in Saudi Arabia are masterfully weaved in with recreations of the past, utilizing state-of-the-art computer-generated effects. Audiences explore sights ranging from the lost oasis city of Madain Saleh, to sand dunes via camel caravan along an early frankincense trade route and are welcomed into a Bedouin family tent. They travel back in time to the Islamic Golden Age when monumental mathematical, scientific and philosophical breakthroughs paved the way for the Renaissance, ultimately contributing to developments in modern technology. Journeying through a breathtaking desert storm, diving among the coral reefs and ancient shipwrecks of the dazzling Red Sea and joining three million Muslims as they arrive in Mecca for the sacred Islamic Hajj – the largest gathering on the planet – gives filmgoers a sense of the complex tapestry that is Arabia.

“This film is a wonderful way of presenting Arabia, evoking all the extraordinary colors and textures of the place, the feeling off being surrounded by history and at the same time, the palpable sense of change,” says celebrated British author and historianRobert Lacey, who served as the primary consultant on the project. “I think 3D does particular justice to it, because you get the sense of a vast landscape that stretches to the horizon and a culture rooted in both its spiritual and practical past and present.”

ARABIA 3D is produced and distributed by MacGillivray Freeman Films and presented in association with the Royal Geographical Society (with IBG), the Oxford Centre for Islamic Studies, and the King Faisal Center for Research and Islamic Studies. The co-producer is Mark Krenzien and the screenplay was written by Jack Stephens.

See the original press release here:  http://www.prnewswire.com/news-releases/journey-into-the-fascinating-world-of-arabia-3d-120877854.html

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Specification for Naming VFX Image Sequences Released

ETC’s VFX Working Group has published a specification for best practices naming image sequences such as plates and comps. File naming is an essential tool for organizing the multitude of frames that are inputs and outputs from the VFX process. Prior to the publication of this specification, each organization had its own naming scheme, requiring custom processes for each partner, which often resulted in confusion and miscommunication.

The new ETC@USC specification focuses primarily on sequences of individual images. The initial use case was VFX plates, typically delivered as OpenEXR or DPX files. However, the team soon realized that the same naming conventions can apply to virtually any image sequence. Consequently, the specification was written to handle a wide array of assets and use cases.

To ensure all requirements are represented, the working group included over 2 dozen participants representing studios, VFX houses, tool creators, creatives and others.  The ETC@USC also worked closely with MovieLabs to ensure that the specification could be integrated as part of their 2030 Vision.

A key design criteria for this specification is compatibility with existing practices.  Chair of the VFX working group, Horst Sarubin of Universal Pictures, said: “Our studio is committed to being at the forefront of designing best industry practices to modernize and simplify workflows, and we believe this white paper succeeded in building a new foundation for tools to transfer files in the most efficient manner.”

This specification is compatible with other initiatives such as the Visual Effects Society (VES) Transfer Specifications. “We wanted to make it as seamless as possible for everyone to adopt this specification,” said working group co-chair and ETC@USC’s Erik Weaver. “To ensure all perspectives were represented we created a team of industry experts familiar with the handling of these materials and collaborated with a number of industry groups.”

“Collaboration between MovieLabs and important industry groups like the ETC is critical to implementing the 2030 Vision,” said Craig Seidel, SVP of MovieLabs. “This specification is a key step in defining the foundations for better software-defined workflows. We look forward to continued partnership with the ETC on implementing other critical elements of the 2030 Vision.”

The specification is available online for anyone to use.

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