Click on any phrase to play the video from that point.
[♪ Music ♪]
[A Martin Scorsese Picture] [Hugo]
[Rob Legato] [Visual Effects Supervisor] In the making, it was a huge technological challenge
compared to what we normally do.
There's 2 different ways of doing 3D.
You can do 3D on the set, or you can shoot it in 2D and then
basically do a 2D to 3D conversion.
The decision was pretty much always going to be that we're going to shoot it in 3D.
Working with Martin Scorsese, his vision of things is
at such a high order that everybody feeds off of everyone else
because we're inspired by the one man's persistence
of achieving art in just about everything he does.
It's a pretty thrilling environment to be around.
This movie is basically highlighting one of the great film pioneers of all time,
Georges Melies, who got inspired by the magic of movies.
Put your hand on there, Michael.
I'm known as the visual effects supervisor,
digital supervision, essentially, and then revising Marty's vision.
So Marty has a new idea.
They call me up and say "Well, can you show us what this would look like?"
Any way you can preview anything gives you one more leg up
on the creative process, so you then look for tools
that give you basically the fastest, most nimble way that you yourself can do it.
What After Effects gives you that most compositing tools don't give you
is the ability to slide things on a timeline.
In this particular case, Marty wanted him to slowly emerge from the screen,
so keep on coming out into the audience for a dramatic effect,
so we would set it up in After Effects just to see a preview
of what it's really going to look like, and then we could tell the compositers
this is the template.
One of the interesting things about using After Effects is that
every version has a bunch of new tools that are built into it
that allow me to do more and more stuff, like the warp stabilizer.
I used the warp stabilizer on the moon coming out,
the famous shot from "Voyage to the Moon."
And it was shaking like crazy.
I was able to articulate and make the moon a separate portion,
make the background a separate portion, and stabilize them all.
A lot of times on the set you're shooting against massive green screens
where you really can't tell what's out there,
and the onset keying was never really quite satisfying enough,
so I would take the imagery and put it into After Effects,
and I was able to use much more sophisticated keying
to show everybody what it really will look like.
I use Premiere a lot because it's basically multi-format agnostic.
Anything that you want to put in, it will play it out in real time,
so that part is very unique.
This is played in real time now.
Now, I could, A, record it onto another device.
I record it back to the Avid or just now export this to Blu-rays
or DVDs or whatever I needed to do,
and the fact you can do it real time is such a time saver
that that is the best tool I could possibly use in my edit suite, essentially,
and I have to have it.
I had a Z800 brought in there, and that combination,
the Mercury engine, the speed of this machine, is just really awesome.
The creative process gets increased by the fact that you do iteration after iteration
as nimbly as you can think of it as quickly as you can think of it,
and you could see it.
The 3D in this movie is distinctive because
it's probably one of the first times it was viewed as an art form,
that it was not just we'll shoot a scene, and then you convert it to 3D.
Every shot was viewed, art directed, directed,
blocked out with the actors, lighting wise,
everything affected everything, and so every shot
was optimized for 3 dimensions.
It was actually 2 shots, a discrete left eye and a discrete right eye,
so that's 2 total composites, 2 total tracking issues,
and it becomes rather complicated.
A lot of monitors now will just do what's called side by side,
which is basically sort of anamorphic squeeze left eye
and anamorphic squeeze right eye on the same frame,
and then the monitor will basically split it into 2 separate images.
What I would do is I would feed Premiere a timeline
of the left eye, a timeline of the right eye, and put a transform on it
and basically turned it into anamorphic side by side.
And again, I didn't even have to render it.
I just would hit play, and I could see it instantly on the screen.
The great thing about Adobe is that they're sort of growing up
as the industry is growing up, so each new iteration
they create is responsive to what everybody wants to do now.
You know that there is going to be an app within the suite of tools
that will make your work that much better, that much easier, that much faster.
A lot of times people ask you about what's the future of filmmaking?
And the future of filmmaking in my view is art,
and the art is basically so improved by the ability for young filmmakers
to take tools like the Adobe Creative Suite and all the various things
that you can do and themselves explore and make
hundreds of films much like George Melies has made hundreds of films.
And if you have access to tools that allow you to do it yourself,
you will make better filmmakers.
[♪ Music ♪]
[Adobe] [Visit the official movie site www.hugomovie.com]
