14/07/2010

"The Last Airbender" editing.

Algunas citas de M. Night Shyamalan y su oscarizado montador, que apareció el otro día en el blog, Conrad Buff acerca de la última película del ditector, "The Last Airbender" (Airbender, el último guerrero). Se estrenará en españa el mismo día que "Inception" (Origen) de Nolan, el 6 de agosto. Puesto que me llama más la atención esta última, "The Last Airbender" (Airbender, el último guerrero) la veré, pero no ese día.

"The movie was edited by Oscar-winner Conrad Buff (Titanic) and features some of the most complex visual effects ever produced by the artists at Industrial Light & Magic. When asked why didn’t he make The Last Airbender an animated movie, Shyamalan enthusiastically replies, “When we watched the cartoon. I thought, ‘Wow, I can make a great live-action movie out of this! That would be really phenomenal! We have the technology!” He says the inspiration was a really quick “organic moment.” “One of the reasons Night wanted me to do this film,” recalls Buff, who edited Shyamalan’s previous movie The Happening,” is that I’ve done a lot of films that have CGI visual effects, and for him it was a unique experience. Most of his films have none. I could bring something to help him in a unique way.” “Conrad and I have done two movies together, [so] we have a kind of a shorthand,” says Shyamalan. “He knows me — what I like.” “Night had to commit to VFX sequences before he was even done shooting, which is not something he’s ever had to deal with,” says Buff. “We had to lock sequences to turn them over to ILM, because they literally needed months to do their work. So during shooting we would look at dailies every night. But I would frequently go up there [on set] during the day in anticipation of certain sequences that we were committed to turn over.” From location to location, the day’s dailies were scanned and imported at DNxHD 36 and screened from Buff’s laptop running Media Composer cabled to an Avid Mojo, then projected to a Christie HD3K in a mobile trailer. “I could play cut sequences for him,” Buff recalls, “on a relatively large screen just in the privacy of the trailer while he was having lunch. We could talk about them, make changes, adjustments. That really helped us advance the ball. It allowed us to commit to these things early and meet our deadlines for CGI.” At Blinding Edge Pictures, Shyamalan’s production facility in Conshohocken, PA, Jon Petersen, senior engineer at Pivotal Post, Los Angeles, set up four Avid Adrenalines on the second floor of a 19th Century horse barn. Each Avid was running Media Composer 3.1.3 on Mac Pro “HarperTowns” with a DNxcel board and JVC DTV24L1D 24-inch HDSDI viewing monitors connected to a 16TB Unity media share system. “This was my first time editing on the Avid in HD, which is wonderful,” says Buff. “Night always printed film until this time, and he likes to screen dailies.” According to visual effects and assistant editor Carole Kenneally, at the Blinding Edge digital theater, “They would screen cuts or the entire movie straight from the Avid Adrenaline via HDSDI to a Christie CP2000M 2K projector at 1920x1080.” Echoes Buff, “We could watch it at the drop of a hat and we could watch it in stereo or in 5.1 in HD and have a pretty close-to-finished experience".

Fuente: http://www.postmagazine.com/

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