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To movie enthusiasts, the distinction between 2-D and 3-D films might seem as simple as donning a pair of plastic glasses. However, for the creative minds crafting these visuals, the process is far more intricate—particularly when the 3-D experience isn’t captured natively. A prime example is Alfonso Cuarón’s Gravity.
Despite being praised for its innovative 3-D effects, the space epic Gravity was initially shot in 2-D. The responsibility of transforming it into a stereoscopic masterpiece fell to the specialists at Prime Focus World, who collaborated with the visual effects wizards at Framestore.
Cuarón and the producers of Gravity chose the perfect team for the job. Prior to tackling the monumental task of converting 15,531 frames into one of the longest stereoscopic sequences ever for Gravity, Prime Focus World had already brought depth to iconic films like Avatar, the original Star Wars trilogy, and the reimagined The Wizard of Oz.
Following Gravity's remarkable achievement of 10 Oscar nominations—including Best Picture and Best Visual Effects—we had the opportunity to speak with Namit Malhotra, the founder and CEO of Prime Focus World. We discussed innovative camera techniques, enhancing star performances, and crafting cinematic experiences set in distant galaxies.
Many film industry experts—and even casual viewers—often claim that 3-D is a dying trend. You clearly disagree. How has Gravity redefined the 3-D landscape? The film broke records by selling more 3-D tickets during its opening weekend than any previous release (80 percent)—even surpassing Avatar. This demonstrates that 3-D is far from obsolete; instead, it highlights the enduring power of compelling storytelling. When a narrative is strong, and the technology and creativity align to enhance it, audiences will embrace it wholeheartedly.
When did Prime Focus World join the production of Gravity?
In 2010, executive producer Nikki Penny approached Prime Focus World with a unique challenge: to convert a single-eye test shot from a native stereo shoot into 3-D, enabling a direct comparison between native and converted footage. The test was conducted in a confined set mimicking a space capsule, which was too small for the large stereo camera equipment. After reviewing the results, director Alfonso Cuarón and producer David Heyman were amazed to find no discernible difference between the converted and native shots. This success led to the decision to abandon native stereo filming, and Prime Focus World became the exclusive 3-D conversion partner for the project.
Did any aspect of the production make you hesitant to take on such a complex project? Our early involvement in the production process gave us a unique advantage. We identified the most daunting challenge—seamlessly integrating Prime Focus World’s converted live-action footage with the stereo-rendered CGI created by Framestore’s VFX supervisor Tim Webber and his team. By developing tailored techniques, we simplified the technical and logistical hurdles, ensuring a smooth workflow. This allowed us to focus entirely on realizing Alfonso Cuarón and stereo supervisor Chris Parks’ creative vision, making exceptional 3-D the central focus of the project.
You achieved the 3-D equivalent of Martin Scorsese's iconic tracking shot in Goodfellas with Gravity, transforming 15,531 frames into a 10-minute and 47-second sequence. What was your initial reaction when you realized the scale of this task? When collaborating with Alfonso Cuarón and cinematographer Emmanuel Lubezki, you anticipate their signature long, uninterrupted shots. We were thrilled at the prospect of translating these floating, continuous camera movements into a stunning stereo experience. It’s incredibly rewarding to know that Prime Focus World can tackle such groundbreaking challenges with creativity and adaptability. This capability empowers us to confidently ask filmmakers, “What’s your vision?”—because we can bring it to life.
Does the conversion process become more challenging when your subjects are two of the most globally recognized celebrities? Not at all. We dedicate significant time to look development early in the conversion process, which involves meticulous sculpting and depth mapping of characters and environments. We’ve applied this same technique to iconic faces like Brad Pitt in World War Z and Dorothy in The Wizard of Oz. Working with famous faces isn’t a hurdle—it’s an opportunity to enhance their presence, making them feel more real and immersive for audiences.
Is ensuring scientific accuracy part of your role, or is that left to the director? Did you feel the need to understand space physics to provide realistic creative solutions? In visual effects, believability is paramount. Stereo 3-D allows us to use depth to evoke emotions, contrasting the infinite vastness of space with the claustrophobic isolation of the interiors. While scientific accuracy is important, our focus is on translating the director’s vision into an immersive experience that resonates with viewers.
Technical teams, much like film editors, aim to make their work invisible to the audience. What creative elements during conversion might viewers overlook, despite their impact on the final product? Our collaboration with Framestore ensured smooth transitions between stereo-rendered CGI and converted live-action footage. Alfonso’s goal was to immerse the audience completely, making them feel as though they were in space alongside the characters. The aim was to make the 3-D feel natural, so viewers wouldn’t notice it—they’d simply feel like they were part of the journey.
You’ve worked on some of the most significant 3-D films in recent history, including the groundbreaking Avatar. How has Gravity surpassed Avatar in advancing filmmaking technology? Similar to Avatar, Gravity succeeded because 3-D was integral to the director’s vision from the start. It allowed stereo to enhance the storytelling in ways that aligned with the narrative. This is the essence of filmmaking technology—evolving to meet the creative ambitions of filmmakers and bring their visions to life.
What’s the future direction of film technology? Film technology evolves in tandem with the creative aspirations of filmmakers. The direction it takes is shaped by the stories and visuals filmmakers aim to bring to life. Gravity exemplifies this, demonstrating how innovation can align with artistic vision. We hope Gravity encourages filmmakers to chase their dreams, even when the necessary technology seems out of reach.
