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G-FORCE

Magic Of G-Force
Talking Guinea Pigs in Three Dimensions Director Hoyt H. Yeatman Jr., one of the most innovative visual effects artists in his field, had already worked in that capacity on numerous Bruckheimer productions. "I've known Jerry since ‘Crimson Tide,'” says Yeatman. "I went on to do ‘The Rock,' ‘Armageddon' and ‘Kangaroo Jack' for him. Jerry always likes to be on the edge in everything that he does; he has no box around him.”

"Hoyt brilliantly decided to make the computer animated animals as photo realistic as possible instead of looking like cartoon critters,” says Bruckheimer. "He's won an Academy Award®, received a technical achievement award from the Academy, and he received an Oscar® nomination for his work on Disney's ‘Mighty Joe Young,' in which he created one of the most authentic CG animals ever put on screen. We always push the envelope for visual effects and we encouraged Hoyt to go to the edge and beyond on ‘G-FORCE.'”

"We used the highest end computer graphics, but it was all character driven,” says Yeatman. "We used both live-action and virtual worlds, and at the end of the day, the audience won't know the difference.”

One way in which the filmmakers ensured that audiences felt completely enveloped in the adventure and comedy of "G-FORCE” was to employ the most highly developed new form of immersive 3D from Sony Pictures Imageworks. "We looked at new 3D technologies to see what they could bring to the film, and we're sure that audiences will have an experience unlike any they've had in the past,” says Bruckheimer.

"I think that what this film offers in 3D that others don't is that it's a liveaction film with animation,” says Yeatman. "To dimensionalize a mixture of live action and animation is a big deal. I think we're breaking new ground in that respect. 3D adds another layer; it's almost like going from black and white to color, from silent to sound. Being on the edge is always fun, but kind of scary, too. So when the idea of 3D came up, we had to do some hard thinking and produced a lot of new tools to be able to make that happen.

"One innovation that we've accomplished is breaking the frame,” continues Yeatman. "Our characters are free to bust out of the aperture frame, which really brings the 3D to life. It comes right out, literally, into the audience, which is a great effect.”

"Everyone's trying to push the boundaries,” says two-time Academy Award®-winning visual effects supervisor Scott Stokdyk of Sony Imageworks. "We want the audience to have a great experience that's different from their home theatre. At the very start of the project, Hoyt did some 3D tests and projected it on a big screen. It was a close-up of a guinea pig and it really came to life in a way that's not possible in two dimensions. "Sony Imageworks has done a lot of work with fully animated features like ‘Open Season,' ‘Surf's Up,' ‘Beowulf' and ‘The Polar Express,'” Stokdyk continues. "But to do that on an action feature which combines live action and animation is a whole other ballgame. It involves a lot of advanced technology which breaks new ground. It's a difficult process, particularly with a movie as complex visually as ‘G-FORCE,' but I think it gives the audience a really big bang for their buck at the end of the day.”

"3D has come a long way since the 1950s,” says Sony Imageworks senior visual effects producer Buzz Hays. "Even in the last 10 years we've made tremendous advancements. The characters lend themselves to the 3D environment, and certainly the action does. It's just a really fun experience.”

Adds 3D visual effects supervisor Rob Engle, "Digital technology is the reason for the great progress of 3D, as well as digital exhibition, which is superior to anything we've had before. The whole point of showing a 3D movie is that we

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