Added Deluxe’s Rich Welch, “I think this has changed everything about the process from camera to screening.”Īsked if a 3D or 48fps home release could be on the horizon, Beresford replied, “I think there are roadmaps … even if that might not be available today.” “The thing I’m most proud of was the level of collaboration and innovation,” summed up Beresford. It also involved development of a new DCP mastering tool, enabling mastering in the cloud. The team invented a new system to create (including subtitling, dubbing and quality control) and track all of the versions and portions of the versions over multiple vendors (among them, Deluxe, Pixelogic and Eikon), around the world. “We had to turn our operation into a 24/7 support model,” reported Walt Disney Studios vp technology Mark Arana of the unconventional approach. “We moved reel by reel because we couldn’t wait.” In all, she reported that this meant creating 6,338 portions of the DCPs (digital cinema package, which is the digital equivalent of a film print). “We didn’t have the movie together until about 16 days before the release date,” Beresford explained. Roughly 800 versions of the movie were QC’ed (quality control reviewed) in the final five days before release. Kim Beresford, vp integrated planning and motion pictures operations at Walt Disney Studios, explained that in order to meet the delivery date, the movie was effectively divided into 15 reels, allowing the team to begin creating delivery elements even before the completed 3-hour, 12-minute movie was locked. This unheard-of number of deliverables included combinations of 2D, 3D, HDR, 4K, varying light levels, aspect ratios, a high frame rate of 48 frames per second, a range of audio formats, 51 languages supported with subtitles and 28 languages supported by dubbing.įor some context, the typical Marvel tentpole involves roughly 500 deliverables, which is already a very high number. In the case of Avatar: The Way of Water, this involved the creation of a whopping 1,065 unique delivery versions of the movie. With digital cinema, theaters vary greatly in their screening capabilities, and Cameron and Landau were bullish about delivering the best possible experience to each individual theater. John Refoua, Editor on 'Avatar' Films, Dies at 58
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |