00:00Here we go!
00:17Monsters vs. Aliens in true 3D,
00:19che in itself ha un'homage e' un'homage
00:23e' un'homage a alcuni dei fifties Monsters movies.
00:25It's such a perfect opportunity to showcase the new generation in 3D,
00:31to show off the bells and whistles of it.
00:33Monsters vs. Aliens is just a perfect fit.
00:36Once again, a UFO has landed in America,
00:39the only country UFOs ever seem to land in.
00:43When we first decided to do this movie in 3D,
00:46we realized that what we didn't want to do was turn it into a gimmick.
00:50We didn't want to just, like, stick things out of the screen for no reason,
00:53just to say, hey, look, it's in 3D,
00:55it's gonna completely take you out of the movie experience.
00:57So in order to counteract that,
01:00we came up with a lot of new tools and new technology
01:03that helps us direct in 3D
01:05to a point where we're telling the story
01:07a little more subtly with 3D.
01:09When we get from the robot's POV,
01:12we'll see how high up it is,
01:13because that's like the size of a skyscraper.
01:17Trying something that's never been done before
01:19and figuring out techniques,
01:21it kind of harkens back to making movies 80 years ago.
01:25And then we can track with her as she's running,
01:27and we can run along the ground at the same time.
01:31Kind of whip around, follow through.
01:34The idea of actually having 3D integrated into the earliest discussions
01:39and trying to think not about the gimmicks,
01:41but actually about what does it mean to think spatially about a movie.
01:44So once we get to the big screen,
01:46we want to make sure those separations come down a bit.
01:50Yeah, that looks great.
01:51As cinematographers, you're always thinking in depth,
01:54because dynamics come from depth.
01:55You know, a character that walks up to you,
01:57gets bigger and fills the frame,
01:59that has essentially a dynamic.
02:01But what's been fun about working in 3D
02:03is actually utilizing that as like an additional paintbrush.
02:09Confused.
02:10In a 2D movie, when you say, let's do a close-up,
02:12what that really means is just, let's make the person get bigger on the screen.
02:16But in 3D you can say, let's do a close-up,
02:18and the character is really closer to you.
02:21And that's one of the most powerful things,
02:22is the interaction with the characters themselves.
02:26Strange, isn't it?
02:28Scope of the film is just so big.
02:31The 3D really shows off the scale differences that we have
02:35with the characters and also with the sets.
02:37We have really close, intimate moments, like in the church,
02:41and yet we also have these massive, expansive locations,
02:45like the underground prison, like the Golden Gate Bridge scene,
02:48the chase in San Francisco.
02:49It's pretty powerful.
02:52The filmmaker is using the two most powerful tools
02:56that we as human beings have, which is hearing and sight,
02:59to create a dimensional experience.
03:04Now you can actually deliver that third dimension,
03:08and it just creates a spectacular opportunity
03:12to make the emotions of storytelling even better.
03:15Bob!
03:16What?
03:17Help me!
03:18Sorry, I was just staring at this bird over there.
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