[by Levent OZLER, Dexigner]

Looking to visually communicate the mythology of “The Green Lantern” in a compelling way, studio Warner Bros. and director Martin Campbell turned to multi-disciplined creative design/visual effects studio yU+co, led by Creative Director Garson Yu, to design a :90 stereoscopic 3D main title sequence that not only grabbed the audience’s attention, but also brought them up to speed on the superhero’s history and set up the film’s first scene. yU+co also created the film’s stereoscopic 3D main-on-end sequence and credit crawl.

“The opening sequence was important to set up the backstory: there’s a whole mythology from the Green Lantern comic books that most people don’t know going into the movie,” Yu said. “So the sequence has to fill you in on that legend before the movie starts. Aside from getting the information across, we wanted to establish a feeling for the world — a big, epic journey through space that says: ‘this is a big superhero movie.'”

Rendered in stereoscopic 3D and perfectly wed to the resonant voiceover from actor Geoffrey Rush, the main title sequence opens with a shot of a green orb known as the “emerald energy of will power” hovering in space. As the camera slowly pulls into the orb, we discover the planet Oa at its center, inhabited by the Guardians who oversee the universe and its 3,600 sectors — each with its own protective Green Lantern. As the giant animated emerald ring that gives each Green Lantern its superpower rushes toward the camera, it splinters into numerous streaks of green light that recall the look of fireflies, only moving in a precise military formation.

The lights then form a green-hued navigational grid that visually conveys the idea that there are many Green Lanterns all around the universe working together as intergalactic peacekeepers. Following a heroic shot of the Green Lantern logo, yU+co introduces us to The Green Lantern’s nemesis, an entity of fear known as the Parallax — seen as a fiery yellow ball of energy and light with an ominous-looking skull at its core. The final shot of the sequence depicts the face of Abin Sur, the only Green Lantern to ever defeat Parallax, encased in a purple mist and wearing an emerald ring on his outstretched hand.

“The energy of willpower is the key to the Green Lantern,” Yu added. “It’s the source of his power. We took our cue from the visual effects in the movie, but created our own look for the opening — something that visualizes energy because the battle between the green energy of will, and the yellow energy of fear is key to film’s plot. For the face of Abin Sur we wanted to set up this character so that the audience recognize him when they see him later. The design challenge was to stylize him as part of the nebula but still see him as Abin Sur. We overcome this challenge by projecting his purple face onto a 3D cloud like structure and composited it as part of the galaxy.”

A Film Classic Provides Inspiration
Where the main title sequence was an exercise in digital creativity, for the main-on-end-sequence yU+co decided to incorporate an organic technique that was used to great effect in the sci-fi classic “2001: A Space Odyssey.”

To create the unusual patterns of light and color that serve as the back drop for the key credits — rendered in striking green type before disappearing into vapor trails — yU+co used the high-res RED camera to shoot a variety of colored paints and lacquers as they’re poured into water and quickly spreads out. Those images, when blown up in size and composited into the 3D background, created the unusual effect and instantly resembled nebulas in our galaxy. The sequence was made even more powerful when perfectly edited to the guitar-infused techno soundtrack.

“It is important to think of 3D in the design stage, so you actually create a truly stereoscopic sequence,” Yu noted. “For the opening, we tried to maximize the 3D effect by constantly moving past and through objects, nebulas and energy fields. All of the design events and elements are staged in stereo so they are all in truly logical 3D space. Without logic behind it the design won’t make sense.”

See the original post here: http://www.dexigner.com/news/23306

[Source: Deadline, by Alex Billington]

It all comes down to this. In just two days, Michael Bay’s final, epic sequel, Transformers: Dark of the Moon, will hit theaters in glorious 3D, wrapping up his trilogy of Transformers movies. The reviews are saying it’s one of the best action movies this summer, that Bay redeems himself, and also that it has some of the best cinematic 3D anyone has ever seen. But, of course, 3D has its problems, one being how dark it looks once you wear polarizing 3D glasses. Well, Michael Bay has taken it upon himself and written a letter to projectionists and even issued a brighter digital 3D print to hopefully minimize any issues with his movie.

Most moviegoers have probably already heard about Bay’s recent plea to go 3D and go brighter on 3D with Dark of the Moon, because he’s done a damn good job of making sure everyone has heard, but his letter to projectionists just popped up online thanks to Deadline (via The Film Stage) after details from it were first reported by NY Times. In it (you can see it just beneath this), Bay asks that they prevent “dark dingy” 3D by making sure all the projectors are at proper brightness. He also mentions the “Platinum 6 version” of the movie, which is a brighter digital 3D print sent only to theaters capable of projecting “6-foot lamberts.”

As revealed previously, these special prints which will be showing with all digital 3D presentations startingTuesday night, have been mastered and color graded for the extra brightness. “We have created a special version with extra sharpening, color and contrast. It is a superior look in the format. The brighter the image, the brain processes in a different way and the result sharpens and makes it more vibrant.” Awesome. It sounds like this is truly the way to see it and I can’t wait to experience the Michael Bay-3D with Dark of the Moon. Letters to projectionists seem to be the in thing, as Terrence Malick sent one with Tree of Life as well.

Here is the letter that Michael Bay included with prints of Transformers: Dark of the Moon being sent out. The photo comes from Deadline. More information on the brighter 3D prints can also be found at NYTimes.

Bay also took a moment to thank all of the fans in a message on his blog MichaelBay.com. Not only did he thank them for allowing him to “have fun with the Transformers franchise,” but he strongly encourages everyone to go see Transformers: Dark of the Moon in 3D (and no other way!). Here’s a piece of his note:

“I just want to take the opportunity to thank all the fans around the world for letting me have fun with the Transformers franchise. It has been a wonderful opportunity to have worked with about 4000 crew members around the world. These artists are some of the very best in the entire film business. I’m honored to have had you work along side me. We had an amazing time.

‘Dark of the Moon’ has some of the most technically challenging sequences ever shot. And shot in 3D. I must urge you to find the very best theatre and see this movie in that format. 3D was a forethought, not an afterthought in this movie. I’m glad Jim Cameronand Steven Spielberg really convinced me to shoot in this new technology. We used and invented many new techniques to make the 3D sharper, brighter and more color contrast. I think theatre owners heard their audience that they need to respect the specs of the projectors and not dim the bulbs to save money.”

Damn straight! That also goes right along with one of the best parts of Bay’s letter: “Projectionists are of ultimate importance because your expertise defines the audience’s experience.” I really think people forget how important proper projection is in making the theatrical experience perfect. I think my respect for Michael Bay is growing, and honestly, I can’t frickin’ wait to see Dark of the Moon, even though I’ve still got Revenge of the Fallen in the back of my mind. But this time it’s about the 3D and from all we’ve heard, all the feedback so far, it sounds like Bay may have even topped the first one. But if anything, I’m just hoping to be entertained. “Hopefully you will have as much fun watching this movie as we all had making it.” Me, too.