Personally, I think it works, but I've talked to a few folks who seem to think Kowalski and Stone are at a full stop, and his presumed death is therefore an unnecessary gesture / "a plot hole. Developing bespoke techniques to achieve impact, Chris employed a virtual native 3D rig within the complex CGI worlds that were being designed, and intelligently integrated key scenes requiring 3D conversion. Gravity' was co-written and directed by Alfonso Cuarón, an extremely talented filmmaker who has helmed a string of visually dynamic movies -- 'Children of Men', 'Harry Potter and the Prisoner of Azkaban', 'Y Tu Mama Tambien', 'A Little Princess', and 'Great Expectations' (1998) -- in multiple genres. It knows when to ramp up and give the audience a breather, but it never ever, ever cuts away and lets you leave your protagonist.

Gravity was, and still is, a boundary-pushing exercise although Cuaron, who aspired to be an astronaut when he was younger, didn't describe the movie as a "space film". I also shot stereo reference plates of a moving model with different focal length lenses and different distances to demonstrate the sort of feel that I wanted to help me communicate with the conversion artists. It showed that 3D can be used for Drama as well as spectacle - and looks set to usher into an alternative genre of 3D films. From the opening nail-biting collision sequence to Ryan's depleting oxygen levels, Cuaron's use of subjective point-of-view shots, frantic close-ups and eerily tranquil wides create a palpably visceral landscape. I've talked to some who don't always like all the answers the film gives (for example, the reason for the initial chain reaction), but nothing in this movie is irrelevant or unexplained.It's at this point that Director Alfonso Cuarón grabs you by the throat and doesn't let go for the next 75 minutes. sounds like I'm either miss-remembering or it's changed, can you confirm only the "streamer" needs the movie? Shots of, or reflecting, the Earth are particularly gorgeous, with bold and bright colors across the entire spectrum.

This is to say nothing of the individuals who built Bullock’s wire-rig harness for her sequences inside the International Space Station, which was a 12-wire rig that had to be molded to fit her body exactly, with three wires attached to computer controlled servomotors. Granted, my local Atmos cinema has a far more expensive sound system than my personal setup, but this Blu-ray is ever-so-slightly shy of the home cinema perfection I was expecting.As incredible as the advances in cameras, robots and CGI are and will continue to be, the future of film is still rooted in one of our oldest technologies, the written word, or more to the point, storytelling . Instead, 25 minutes of the film, notably shots in the two capsules and the film’s final shot, were lensed in 2D and went through a 2D-to-3D conversion at Prime Focus under Parks’ supervision. The entire film ends up feeling so much like a long take that I began forcing myself to pay attention to when there would finally be cuts. This was the mandate that Cuaron gave the film’s stereo supervisor, Chris Parks ( Jack the Giant Slayer, Pirates of the Caribbean: At World’s End), who was brought onto the project more than a year before the team started principal photography.

It's like inviting people around my house to watch a movie, and Big Screen has always had the option to share movies or your desktop. There were several scenes that I would have loved to shoot natively, but at the end of the day, it was impossible to get the rigs into the confined shooting spaces or to support them on the robotic arms needed to get the zero-gravity feel,” says Parks. The Earth is clearly the film's third character (the filmmakers say as much in the making-of documentaries), a representation of all that is good and protective. Detail and resolution are endless, from the pores on the actors faces to the various space suits and vehicles.

On seeing Gravity, Cameron has been quoted as saying, “I think it’s the best space photography ever done, I think it’s the best space film ever done, and it’s the movie I’ve been hungry to see for an awful long time. Pre-screening conversation with Oscar nominees Maryann Brandon - Editor, Mary Jo Markey - Editor, Christopher Scarabosio - Re-recording Mixer, Matthew Wood - Supervising Sound Editor. We were able to make narrative use of 3D because Alfonso had integrated 3D with cinematography, visual effects and every other craft department from the outset,” Parks says. Because I've never been to space, but at the end of 'Gravity', my palms were sweaty and it was a relief to step out of the theatre. More than simple visual effects breakdowns, each of these scene-specific featurettes takes an in-depth look at the creation of one of the film’s key sequences.

At the cross section of the literal story and clear metaphors, I've watched and rewatched 'Gravity' so many times simply because I am in awe of Alfonso Cuarón. This curious dichotomy also extends to Gravity’s creation, with Cuarón and his colleagues having to employ the very latest, cutting-edge filmmaking techniques and technologies at every stage of the production process to bring this surprisingly intimate and humanistic tale to life. Rather than making that shocking moment the time when we bring the 3D out into the theater, a trick we felt would have been out of keeping with the story, we did something to alter the mood of the audience in the period immediately beforehand.

Religious undertones are woven into a subtext about facing inner demons and overcoming grief, which is textbook character padding and far from the required complexities that would make Gravity a masterpiece.