Legendary visual effects man Douglas Trumbull announced his intention to return to directing at the National Association of Broadcasters Show in Las Vegas this weekend.
Speaking at his keynote address at yesterday’s Filmmaker’s Views on Advance in Image and Sound session Trumbull spoke about the push for new technology, adding his voice to James Cameron’s when it comes to he utilisation of higher frame rates and 3D is the cinematic technology of the future.
Variety quoted him on expectations of cinema audiences today,
[T]he industry stopped 70mm, stopped Cinerama and multiplexed itself into oblivion.
on the higher frame rate,
I think that’s going to get people back into theaters, because I think frankly people are kind of bored. They see the same-old, same-old formula all the time. You see your master shots and your two-shots and your over-shoulder and your closeups and your inserts, and everybody says, ‘I’ve seen that a billion times. … And so along comes ‘Avatar’ that does something new, and it’s the biggest-grossing film of all time. So there’s a message.
on his own films, which he hopes to utilise the new technology for,
I’ve got two screenplays I’m almost finished on, and I’m going to be using some really extreme new digital technologies.
Sadly no more details have been released but it’s good to see Trumbull coming back, with the emerging technology making a tangible difference to the film, rather than a gimmick. THR also reported on the speech from Trumbull and have a good quote from Rob Legato who is visual effects supervisor on Martin Scorsese’s 3D debut, Hugo Cabret:
[Scorsese is] altering the use of 3D so that instead of a being an obvious, in-your-face visual effect, the viewer is experiencing a sensation of depth. Sometimes that sensation replaces dialogue. You don’t necessarily need to describe a scene in words if you can feel it, and if you can feel it, it’s usually a more powerful moment than anything else.
With X-Men visual effects man Tim Miller taking up the reins of the Deadpool movie and Gareth Edwards’ hands-on FX work with his break out hit Monsters there is a bigger, clearer, more immersive picture emerging here.
