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Cinema or television, the year 2010 will be placed under the sign of 3D.
After the breaker of Hollywood films like Ice Age 3, Avatar or Shrek 4
France is also launching into the adventure with a first film in relief Behind the Walls.
Produced by Sombrero Films, the supernatural thriller, shot in Auvergne and Vienne,
is directed by Pascal Sid and Julien Lacombe,
two young film directors who focus on the future of the 3D process. |
 We are at the beginnings of a new technique
for the staging.
But at the same time, it's very exciting to experiment
this new way of making plans...
much more than repeat what has been done 10,000
times before by filmmakers better than us.  |
In our eyes, the stereoscopy is a method,
which allows greater immersion.
The film becomes more realistic.
We all know the relief of fair in '80s, of Captain Eo.
But the relief of today does not come down to that.
We will see it more as an open box on a world in 3D. |
Credits: Derrière les murs, de la 3D à la française ! by Pierre Delorme, filmsactu on April 28, 2010
For this great premiere, the implementation and the monitoring of quality of relief have been entrusted
to the company Binocle for its mastery of the process since twelve years.
Side 3D hardware, the specialist made available during the six weeks of shooting the rig Brigger III
mirror hosting the two Genesis cameras (Panavision Algaobjectif Primo, monitor Transvideo)
and its 3D control software in real-time, the Disparity Tagger, now a reference.
Celine Tricart is the stereograph of Behind the Walls.
Supervision of relief was provided by a homemade stereograph among the most skilled.
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Twist: First feature-length film, first impressions?
Celine Tricart: Attending the first French feature-length film in relief as stereograph is a real challenge, and also a very exciting and rewarding experience.
We walk in unknown terrain and every day, I have to make choices on relief settings directly in relation to the staging, narration, climate of the sequence...
After having spent the last three years to proclaim that the relief was a staging tool, it is a real pleasure to finally apply it. |
Did the 3D - 2D cutting seem well made, difficult to manage?
The traditional cutting is completely put back into question in relief. It is a new language, totally different.
For example, a simple shot reverse shot cutting is a cinematic figure to call into question where the third dimension appeared!
In each sequence, we must rethink everything "in 3D". And if it is easy to say, in fact it is much harder than that: resetting a century of knowledge on techniques for staging, it is not won.
How does the trio operator-assistant cameraman stereograph work? It is getting to be a crowd?!
On set, we are currently two people more than in a traditional shooting and a third person reports daily rushes to us.
But finally the team adapts well, and work is proceeding normally. In the case of Behind the Walls,
my main interlocutors are the two directors (Julien Lacombe and Pascal Sid) and cinematographer (Nicolas Massart).
I try to bring my knowledge and my experience of relief at Binocle to development plans, and
we progress together very effectively. We are in the final third of the film, and already you can feel the progression,
and I noticed that everyone has started to "see in 3D" and work with a view of a film in relief.
Did the directors ask several shots to get the desired relief?
No, I usually adjust my relief settings during the preparation of plans and the eventual repetitions.
From the first shot, I am able to dynamically control and in real-time the adjustments of center-to-center distance (distance between the two cameras) and angulation (distance of crossing of optical axis that will determine the future position of the screen, and hence the spurts [les jaillissements]) in order to create a relief space consistent with the spirit of the sequence. |
Celine Tricart
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In the end, what will be the "relief" of Behind the Walls?
From my first meeting with the directors, we are immediately found on the same wavelength: we do not want a relief of fair or amusement park, or the Haribo candies!
Stereoscopy is before all a vector of immersion, and emotion,
and the scenario of Pascal and Julien is exactly to those that offer this possibility!
During the preparation I worked a "depth chart" out, a kind of graph that shows the evolution of the "power" of relief throughout the film, in such a way that it emphasizes the strong moments of the history by a deep relief and few spurts, and also provide time slots with soft relief, in order to rest the brain and the eyes of spectators, because the cinema in 3D remains nowadays a tiring experience, physiologically speaking, if we exaggerate the relief effects and especially if we do not fix it in post-production!
Behind the Walls will have a relief called "of window," delicate and realistic, in the service of a story first and foremost. |
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