“We also completed a good deal of postvis,” says The Third Floor’s previs supervisor Patrick Smith, “which, in a first for us, was done in stereoscopic 3D. Previs specialist studio The Third Floor was responsible for several large sequences in the film, such as the lizard and bee chases and a ‘powers of 10′ shot pulling back from a kitchen table, through the atmosphere out to space and landing on the moon. Previs for the lizard chase by The Third Floor. Then I took it into a DI environment and ran a neutralizing grade across all of it, so all the underwater greenscreens had the exact same look and contrast range.” Similar work was done for the RED and SI-2K footage, and Eyeon will soon be releasing its toolset, called Dimension, to deal with stereo compositing throughput. “I sent all my raw materials through Stereotech and they did a proper extraction of the raw material and put it in a properly mapped EXR colorspace. One technique the VFX supe used to help achieve consistency across the shots was to rely on Toronto outfit Stereotech, part of Eyeon, to establish the correct colorspace, especially for the some of the underwater greenscreen plates shot for an encounter with an electric eel. So your blacks will block up a little bit and your highlights will flip out to white much sooner than they otherwise would – the dynamic range is less, which is a challenge for the VFX process.” So it’s roughly a third of the amount of light to display the same information. But for 3D, with the projector, the screen and the polarizing glasses, you’re down to about 4 foot lamberts of light. “Well, standard 2D projection systems typically operate at 14 foot lamberts of light, which is a pretty bright screen. Shermis found that the stereo nature of the production necessitated new thinking in terms of both designing shots and finishing the film. We would also use depth to enhance the emotion of the scene.” Kids still get a kick out of it when you poke them in the eye, so there are a lot of those gags. “We knew it would be in 3D and wanted to take advantage of it – plus it’s a kids film. “The film was also designed from the start to be a 3D film,” says Shermis.
Planning, previs and stereo Dwayne Johnson, Josh Hutcherson and director Brad Peyton on the set of Journey 2.ĭoP David Tattersall filmed Journey 2 primarily with the Cameron-Pace rigs on Sony F35s (although Phantom, RED and SI-2K cameras were also used) on location in Hawaii and in studios in North Carolina. We chat to each of the lead studios about their major shots. Previs duties were handled by The Third Floor and Pixomondo. “There are all kinds of creatures, a hurricane, getting into the island, a bee chase, a giant lizard, an eel attack and then the island even sinks into the ocean.” Several vendors shared the workload, including Scanline, Pixomondo, Method Studios, MPC, Rising Sun Pictures, Trixter and ICOVFX. “In this film all kinds of wonderful and mythical things happen,” says Shermis.
In Journey 2: The Mysterious Island, director Brad Peyton enlisted visual effects supervisor Boyd Shermis to oversee 430 shots for the native stereo production set on a mythical island where creatures and environments are not what they seem.
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