Gravity: Mission Control is one of the most in-depth behind-the-scenes documentaries we’ve seen in quite a while. Although Gravity wasn't shot with IMAX cameras, it demonstrated how a story could match the technical specifications of projection to go even bigger and wider than what audiences were perhaps anticipating.

As incredible as the advances in cameras, robots and CGI are and will continue to be, the future of film is still rooted in one of our oldest technologies, the written word, or more to the point, storytelling . and Angelina Jolie were still attached to the project, the plan was to shoot the movie with a 3D camera rig. All guests who present a ticket for a film screening, Tuesday through Saturday (and the first Sunday of every month), receive 10% off all food and non-alcoholic beverages at Fanny's. There seems to be a weird emotional disconnect – in that we are never fully able to really inhabit the human characters in Cuaron’s otherwise astonishingly spectacular production.When Kowalski asks Stone to let go of him because the rope will not hold them both, that could never happen because they are both in the same orbit around the earth. The affinity for playing with genre conventions, not to mention the desire to experiment with cinematic technique, is characteristic of Cuaron's work. Sorry I wasn’t implying you were at fault or anything like that - just in case my post came across that way. The movie's opening sequence encompasses a remarkable amount of action as it demands actors Bullock and Clooney to hit precise marks in balletic fashion. This site is protected by reCAPTCHA Enterprise and the Google Privacy Policy and Terms of Service apply.

I wish there was an audio commentary, and that the documentaries were a little more fly-on-the-wall, like say 'Prometheus' or 'Avatar', but there's a lot of interesting stuff for fans and future filmmakers to learn. Instead, 25 minutes of the film, notably shots in the two capsules and the film’s final shot, were lensed in 2D and went through a 2D-to-3D conversion at Prime Focus under Parks’ supervision. In eschewing the nausea-inducing shakycam and rapid-fire editing style favored by other 3D releases this year, Cuaron clearly shows he is aware of 3D’s limitations (especially on a gigantic maxi-screen) and therefore steers well away from such annoyances to instead focus on creating long floating camera moves which when coupled with minimal editing (only cutting when absolutely necessary) – creates an enormously captivating and enjoyable 3D experience. Even though I had issues which took me out of the movie – it will still be on my best films of the year list.Movies with fully CGI environments, like James Cameron’s Avatar, often work well with 3D because the background can be manipulated for the stereographer instead of it needing to be vice versa, and that is certainly the case here as well (despite what you may think after seeing the film, Cuaron did not fly to space to get it made).

The survival structure of the story pushes Bullock to her limits, evidencing both a mental and physical strain to the seemingly endless catastrophes that befall her character. Rather than making that shocking moment the time when we bring the 3D out into the theater, a trick we felt would have been out of keeping with the story, we did something to alter the mood of the audience in the period immediately beforehand. Despite its billing as an "IMAX 3D Experience" in theaters, Gravity was shot and presented using a traditional 2. Sure, there are a few shots here or there that aren't perfect, but generally 'Gravity' has my favorite type of special effects: the invisible ones.I have heard that idea elsewhere – it being a riff on ‘Jacob’s Ladder’ – or even earlier: ‘An Occurence At Owl Creek Bridge’. Assuming it was a space issue (no pun intended), it would seem that moving the special features onto a separate disc to make room for a 7. Though the track is wonderfully diverse in its use of silence, dynamic range, and blockbuster aggression, I have to ask the folks at Warners one question: 5.

After the Kessler Syndrome inspired chain reaction kills everyone and leaves them stranded -- in fucking space! Because of the scene's choreography, I can understand why it looks like, to some, as though these two characters have stopped, when they're still arcing outwards at the end of the parachute straps. For me, the use of 3D in 'Life of Pi' was a little more revelatory, but 'Gravity - 3D' is eye popping. Parks — who is supervising the 3D on Doug Liman‘s Edge of Tomorrow — likens native and postconverted stereo to the creative choice between special (in-camera) and visual (produced in the computer) effects. Years from now, it's one of those films about which you'll say, "I can remember the first time I saw that.There's also several effective unsubtle-but-not-intrusive symbolic touches, including a rebirth cycle ignited by a beautiful Zero-G foetal coil. Ryan must gather her resolve and all the resources at her disposal to make it back to Earth and reconcile with her young daughter. Mother Earth, therefore, acts not only as a goal, but as a balance to the infinite blackness of space (of death).