'The Green Hornet' aims to make 3D post-conversion respectable

Posted on 06 Jan 2011 at 19:07PM
'The Green Hornet' aims to make 3D post-conversion respectable

'The Green Hornet' aims to make 3D post-conversion respectable

Fans already know the phrase "post-conversion," particularly as it relates to 3D movies, and they don't like it. "Clash of the Titans" made skeptics of many ...

Fans already know the phrase "post-conversion," particularly as it relates to 3D movies, and they don't like it.  "Clash of the Titans" made skeptics of many, as the rush-to-conversion movie gave the process of converting a movie shot in 2D to 3D a bad name.

"The Green Hornet" aims to change that.  Hollywood maintains that the secret of a good post-conversion is having the time to do it right, a luxury "The Green Hornet" had.  In a press release distributed to the media, producer Neal Moritz said that the decision to present "The Green Hornet" in 3D fit perfectly into the story they're telling, including the way director Michel Gondry filmed it:

“Michel is a revolutionary,” Moritz says.  “You know, he’s the guy who invented ‘Matrix time’ – he did it in a Smirnoff commercial years before they used the same technique in 'The Matrix.'  Michel uses every tool, every trick of the camera, CGI, everything, to tell the story.  And 3D is just another innovative tool that allows filmmakers to tell their stories in a new way.  So of course Michel was interested in releasing the movie in 3D, and using the depth and scope of the film in this dramatic new way.”

Grant Anderson and Rob Engle were the supervising stereographers charged with adapting Gondry's vision for 3D presentation.  According to Engle, the fact that much of the movie was shot in 2D and then enhanced with 3D allowed Gondry more control over the final image, and as a result truly allowed him to play with the 3D space in his own way.  

“What conversion allows us to do is to manipulate the three-dimensional space in a way that you can’t do with traditional photography,” Engle said in the same press release.  “Shooting in 3D, what you see is what you get.  But the way we did it, it actually opens up the door to using 3D in a creative way and manipulating 3D in unexpected ways.  I think that’s what really excites Michel.  For example, in certain places, he’s taking elements of one shot, and at the cut, he will carry over elements – bits of glass or a weapon – to the next shot.  In that way, there’s a sense of continuity of 3D space that you wouldn’t have naturally with 3D photography.”

Perhaps most importantly, on this production the decision to post-convert came shortly after the completion of principal photography, giving the stereographers more time than has been available on some other movies where the conversion had to be rushed to meet a looming release date.  If the results justify the expectations, "The Green Hornet" may become the poster child for 3D post-conversions.

"The Green Hornet" opens nationwide January 14th.

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