Almost all 3-D wide releases also go out in a 2-D version these days. But as “G-Force” director Hoyt Yeatman realized, “The 3-D movie is a completely different movie — I don’t think even the studio realizes that.”
Putting the movie in 3-D meant recompositing to increase the depth of field and adjusting lighting and color within scenes.
Yeatman recalls going into a digital intermediate session with Company3’s Stefan Sonnenfeld, who has a 3-D bay. “Our character Speckle has big, thick goggles. It may play more dark and mysterious in 2-D as an artistic form,” he says, but in 3-D it becomes “a blobby shadow. And that doesn’t look right.”
“In 3-D, at least I, and most people watching it, want to see what’s there, because it’s cool.”
Yeatman, whose background is visual effects, prefers adjusting the stereo in post, as he did on “G-Force,” to shooting with stereo cameras: “You sit down with a cut sequence, you look at it, you can sense the eyestrain, you can sense the problems of cutting from one scene to the next when you need to adjust things. And you have the tools there to do that, just like you would in color or density or editing. It’s all in post.”