![]() Right from the beginning, Rob wanted to use 3-D to make it even better. Normally, we don’t see it until the very end, and then you have to make whatever you get work in 3-D. Having that early kind of insight into what it would look like or seeing a very early edit in 3-D really helped to shape the end result. Even if it was just a case of rearranging a couple of plants, or a blade of grass that you weren’t expecting to be suddenly up in your face. We got an early heads-up on what shots were going to be problematic. And I think that really shows in the final product. But this is the first time I've done a film in this way, where from the original layout stages, we did a very rough, quick look at what it was going to look like in 3-D. ![]() He set a high-water mark and that was almost 10 years ago. Q - How was working on The Lion King different from other films you’ve worked on?Ī – Rob did Hugo and the 3-D on that film worked so well. Or even looking at Pride Rock it's huge and expansive, like looking out through a window at it. You can feel this extra sense of ‘imposing’ from the characters, when they're coming off screen, or when you've got Zazu flying off screen. It really starts showing in the sequences when you see them as a whole. How are the characters supposed to be feeling? How is the audience supposed to be responding to these characters and how they feel? Rob was really keen on using this as a big storytelling tool – to basically shape the emotion in a shot. While young Simba is often more behind the screen and much more reserved. For example, if you want Scar to feel very powerful, he can come off the screen more and be very imposing. ![]() All of those decisions really became a big part of the storytelling process. You had Rob as the visual effects supervisor and the stereographer making creative decisions around it – maybe this plant will be a problem in stereo, so we can move it over here. In this film, 3-D was a huge part of what the film was always going be. But with Rob Legato (VFX Supervisor), they were setting shots up with 3-D in mind, which is not the norm in a lot of films. Normally you’d be restricted by what was shot on set. Q - Why were you involved so early in the process?Ī - One of the great things about this film is that they knew there was going to be 3-D right from the beginning. ![]() When you put them into 3-D, you really feel the scale of everything you feel like you are stepping right into it. That’s true of the different landscapes as well. It really draws you into the film and the story even more, because you feel like you are a part of it. That you’re on Pride Rock, or you’re in the middle of that climactic fight sequence, amidst the flames and the smoke. We've gone for a similar approach with the 3-D that element of realism where you suddenly feel that you’re in Africa with these characters. So it was very important from the beginning for this film to be as realistic as possible. Q - What was your directive from the filmmakers?Ī - They wanted to give people the closest experience they could to actually being in Africa. But as soon as you put the film into 3-D, it jumps right out at you – floating pollen, the rain, things of that nature show up extremely well. It adds to what you see in the 2-D film, things you may miss because there's so much going on in a shot. You can really see every blade of grass, every bug flying around. I'd love for people to see this Lion King in 3-D and get that “surprised kid” reaction. It’s really cool that you can still surprise people when they see a film in 3-D. Q - As MPC Stereo Supervisor, what can you tell us about the 3-D version of The Lion King?Ī - We delivered The Lion King in 3-D and 3-D IMAX, and it was the most enjoyable as well as longest show I've worked on – nearly two and a half years, from beginning to end.ģ-D films show no sign of slowing down in fact, quite the opposite, particularly in places like China and India where 3-D films are huge. Holly Aldersley is a stereo specialist who’s been at MPC nearly a decade, working on such groundbreaking features as The Jungle Book and The Martian, and now most recently The Lion King. ![]() Technicolor’s MPC Film was a creative partner with the filmmakers of The Lion King from beginning to end – from when VFX Supervisor Adam Valdez first pitched a methodology to Disney and director Jon Favreau in October 2016 while they were still wrapping up The Jungle Book campaign – through location scouting and virtual production and on to responsibilities for all VFX and Animation. ![]()
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