In this first - ever IMAX
3D space film, audiences will travel 220 miles above Earth at 17,500 mph to experience the making of the International Space Station — the greatest engineering feat since landing a man on the Moon.
Not exact matches
Just like the projections of sci - fi
films, they actually take up
3D space.
The story of two astronauts (George Clooney and Sandra Bullock) struggling to return to Earth after debris cripples their
space shuttle is the first
film shot in
3D by Cuarón's frequent collaborator, Emmanuel Lubezki (Tree of Life).
The
film doesn't rely on the
3D, but it is immersive in the
space scenes and frequently had me in awe.
Thematically, this is family friendly stuff, of the Ron Howard Apollo 13 ilk, and the
film's visual power, featuring the work of Scott's returning DoP Dariusz Wolski, makes this
3D space epic seem superbly outfitted.
Touted as a thriller by way of Stanley Kubrick's «2001: A
Space Odyssey,» Cuarón had a bitch of a time financing this
3D - shot, effects - driven
film until he finally landed with the A-list cast of Sandra Bullock and George Clooney.
«Gravity» may just be the most gorgeous
film set in
space, one which optimizes the use of
3D without that fringe benefit self - consciously putting objects and people right up to your nose.
Hand - in - hand with this change was the rise of
3D animations, which was a far more economical way to tell a story in games than the complicated and
space consuming process of FMV
filming.
Using elements from virtual environments of CAD workspaces, video games, and CGI
films, DeLucia applies these references to the physical
space at MCASB to highlight the disparity between the illusion of screen - based media and the reality of
3D space.
At the heart of the exhibition, a cinematic
space will feature the animated
film Curtains (2014), in which a series of still stereoscopic images converge and diverge, becoming momentarily three - dimensional when viewed through anaglyph
3D glasses.
The vacillating volume and reverb of the
film's dub soundtrack conjures a shifting sonic
space that mirrors the ghostly materiality of the
film's
3D visuals.
You walk in off the pavement and into an unexpected multi-media experience that cleverly takes over the main exhibition
space, utilizing all the nooks and crannies of the high ceiling deconsecrated Church with
3D film, music and a cleverly crafted domestic interior filled with discarded bottles and the debris of everyday life, like a version of Tracey Emin's Bed for the 2000s.
At the heart of the exhibition, a cinematic
space featured the animated
film Curtains (2014), in which a series of still stereoscopic images converge and diverge, becoming momentarily three - dimensional when viewed through anaglyph
3D glasses.
3D film reaches contemporary dance in this voyage into queer
space, time, and bodies.
The actual Atmos system lets
film makers place sound elements in a
3D space.