“You shoot 120 frames per second, 360 shutter angle, and then you run the files through his tool, and you get a 24-frame-per-second result,” continued Bennett. The technique is simple for a cinematographer, but then the process that he created has complex mathematics. He has figured out how to eliminate strobing. “Since the beginning of cinema, people have been trying to figure out how to keep the wagon wheels from appearing to go backwards,” Bennett explained before introducing Tony Davis, architect of TrueMotion and Senior Scientist at RealD. RealD screened footage from a combat sequence seen in the picture, which was wholly immersive and impressively sharp as a 3D experience. An earlier version of RealD’s TrueMotion processing system was employed by cinematographer John Toll, ASC on Billy Lynn’s, released in 2016. Spivet, and Ang Lee’s Billy Lynn’s Long Halftime Walk, was captured using dual Arri Alexa XT cameras in a Cameron Pace 3D camera rig.īennett employed Arri Master Primes as well as Arri Master Anamorphic lenses, which they say was a first for 3D capture. Bennett’s short film Flamenco, directed by Demetri Portelli, stereo supervisor on the 3D translation of Martin Scorsese’s Hugo, Jean Pierre-Jeunet’s The Young and Prodigious T.S. RealD, known primarily for stereoscopic polarizer systems used by theater projectors, as well as the ubiquitous Men-In-Black-style glasses found in 3D multiplexes, recently asked Bill Bennett, ASC to showcase the possibilities of the company’s fairly new approach to anti-aliasing and frame-rate conversion. Bill Bennett ASC captured the short film Flamenco using high-frame-rate techniques to showcase the new post tool’s possibilities.

Reald stereo master