These pipes both played well in stereo but also allowed Legato to transition through several takes of the actor running through steam and over pipes before emerging to jump through a large rotating cog element, designed to be just big enough for a small boy to jump through. Hugo then runs up a spiral staircase that of course required the camera to crane up to match. Hugo passes through yet another door, allowing for yet another careful matchmoved transition.
The camera then needs to Steadicam down a hallway to the final new clock interior set, where Hugo looks through the spaces of the numbers to see a train station below — actually, a greenscreen stage replaced by Pixomondo. Throughout Hugo , the filmmakers deployed techniques and shots as homages to the very films being discussed and shown. Here are just some of the complex visual references and deliberate stylistic choices.
Mouse: A mechanical mouse is rebuilt by Hugo at the Montparnasse station shop. When it comes to life the mechanical mouse is hand, stop frame animated in stereo. Note: even the QA process at Pixomondo flagged the shot as having a lack of motion blur — to which Grossmann replied — it has no motion blur as it was not meant to have motion blur.
The same lensing and camera angle were used of two completely different shots in the actual station shown in the film. In each case the separate and seemingly unrelated shots had all the extras, lines of sight, and train position perfectly matched by the effects team to the original film. The train crash dream sequence : This was a recreation of the famous derailment of the Granville-Paris Express at Gare Montparnasse in See below.
When it came time to have the studio fall into ruin, Grossmann led a team to film a simulated time-lapse of the whole building collapsing. Ironically, while the team did painstakingly film stop frames of the art department aging the building on a pair of stereo aligned Canon DSLRs, the result was deemed too distracting in stereo and the sequence was re-created in digital form with a more complex ruin, but one that flickered less.
Station Master being pulled along the station: For this very funny gag in the film, the idea came by Sacha Baron Cohen himself.
To solve it, Legato did not have a moving train drag the actor down a platform. He had a stationary train and he slid the floor under him — to give the illusion the train was moving. The train was not leaving the station, the station was leaving the train.
The shot framed out the ground. With the station beyond the train being added as a stationary greenscreen element, it triple-helped sell the gag. The automaton: The robot or automaton was not CG, although there were some CG doubles for some complex shots such as the train line fall. Prop builder Dick George constructed 15 automaton versions and some that actually could draw on paper. The VFX and special effects team solved the complex task by using magnets.
Below the paper was a motion-controlled magnetic system that traced the hand encoded drawing. The arm then moved to match the magnets and draw the famous picture. So impressed was Legato that he amplified the stereo effect of the sequence for greater impact. And there are many more.
The stereo design of this film has universally been praised. The film is completely designed and conceived to be seen in stereo. We would walk through the set, it would be very quiet, we walked around, he looked at everything, it is a very serious moment, very quiet, as this is his first impression of the set.
It would come out nicely here. OK, OK and what if we had some steam here, and some feathers? Can we have some feathers here? Proving again that they are the go-to company for this kind of work, Lola delivered not only anti-aging but did it in stereo.
Check your inbox or spam folder to confirm you have signed up. Photo: Jaap Buitendijk. A line of moviegoers stretched around the block outside the Regal Cinemas in downtown Los Angeles at 1 pm on Saturday, November 5.
The film, like the book, will be a hit with younger audiences. As mentioned, Hugo is a 3D film. The intricate and layered sets were certainly built with the dimensionality of 3D in mind. Using simple depth, many of the overview scenes of the entire train station or of the city of Paris looked beautiful. The viewer is also presented with a number of interesting shots that extend out of the screen plane. The giant pendulum in the large clock tower comes immediately to mind.
Although the film will still be excellent in 2D, I would go see it again in 3D. Considering that this was their first foray into 3D, I would say that the filmmakers did a superb job. Their use of 3D works well with the narrative and was clearly anticipated while filming. It was a discovery with each shot, every facet of it was a rethinking of about how to make pictures. It was arduous but a great deal of fun. Nominated for 12 Oscars, one more than its rival in anachronism, Michel Hazanavicius's The Artist , Scorsese's surprisingly popular and surprisingly good adaptation of Hugo Cabret is both state-of-the art, not only made in 3D but replete with "impossible" digitally produced camera moves, and deeply nostalgic.
As cinema turns inexorably from what we call film, with its traditional basis in photography, to the brave new world of digital image-making, there is a new appreciation for the old-fashioned attractions.
The last universal movie star, Marilyn Monroe, never nominated for an Oscar in her life, has a shot to win, albeit thanks to her impersonation by Michelle Williams ; and the very year Eastman Kodak declares itself bankrupt, we have the popular thriller Super 8 , which celebrates an obsolete Kodak format.
If all of these movies embody the movie past, it is because movies are not simply a way of passing the time but also a magical time machine. In both senses, the key cinema event of was undoubtedly Christian Marclay's hour projection piece The Clock , which was nothing more than the spectacle of time passing — and that spectacle passing for narrative suspense. The Artist is a simulated silent picture that has drawn incomparably more spectators than would, for example, a rerelease of Murnau's Sunrise and would have seemed delusional in the days of Sunset Boulevard.
Its surprise popularity is a factor of its presumed authenticity — however new and improved, it evokes the innocent essence of movies before the last technological revolution. Hyperaware of the motion picture apparatus, and repeatedly linking movies to clocks and railroad trains, Hugo 's trick is to provide the illusion that it can rewind and repair the broken machine of cinema even as cinema has long since ceased to be mechanical.
The Dreyfus Affair was the most elaborate and impassioned of these, a near minute "epic", released in 12 episodes, which drew on illustrations made in the weekly press and represented Dreyfus's trial while it was happening, from a partisan Dreyfusard point of view. This movie was not an optical illusion. Even more magically, it was a representation of something real and a revelation of truth — so much so that it caused riots in theatres and was banned, along with all subsequent movies on the subject, until In one heartbreaking scene, we learn that Melies, convinced his time had passed and his work had been forgotten, melted down countless films so that their celluloid could be used to manufacture the heels of women's shoes.
But they weren't all melted, and at the end of "Hugo, " we see that thanks to this boy, they never will be. Now there's a happy ending for you. Roger Ebert was the film critic of the Chicago Sun-Times from until his death in In , he won the Pulitzer Prize for distinguished criticism. Jude Law as Hugo's Father. Christopher Lee as Monsieur Labisse. Asa Butterfield as Hugo Cabret.
Ray Winstone as Uncle Claude. Richard Griffiths as Monsieur Frick. Helen McCrory as Mama Jeanne. Emily Mortimer as Lisette. Michael Stuhlbarg as Rene Tabard. Reviews Scorsese meets the sorcerer of cinema. Roger Ebert November 21,
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