Alfonso Cuarón, David Heyman
Esperanto Filmoj, Heyday Films, Warner Bros.
Overall Stereo Supervisor
Richard W. Baker
4th October 2013
The important thing of the 3D is the immersive aspect of it. It’s almost as if you are going to a virtual reality show, and you are sent into space, into this very scary adventure.Alfonso Cuarón - Director
On Gravity the long, unbroken, floating camera shots work spectacularly well in space and led to the stereo team producing the longest continuous shot believed to have ever been converted – 15,531 frames or 10mins 47 secs. Part of the vision for the stereo was to create a contrast between the vast unending feeling of space for the shots outside the capsule with the claustrophobia, isolation and loneliness of the interior shots in the close confines of the capsules.
Normally on a conversion the team would take delivery of locked final shots whereas on Gravity the assets were ‘live’, work-in-progress. In order to ensure that the stereo rendered CG elements matched the conversion exactly in terms of their volumetric properties highly accurate stereo cameras were created that the team then passed back to VFX Partner – allowing them to render their stereo CG elements using the cameras. To create a stereo rig that was accurate for both their conversion and for the VFX partners stereo renders required a huge amount of mathematical effort – entirely new mathematical modelling that was unique.
I was stunned, absolutely floored. I think it’s the best space photography ever done, I think it’s the best space film ever done, and it’s the movie I’ve been hungry to see for an awful long time.James Cameron