``Hugo'' Martin Scorsese was actually a 3D enthusiast!

"Hugo" Synopsis

Paris, France in the 1930s. Hugo, who lost his father in a fire, hid in the station's clock tower and spent his days winding the clock's screws. Alone, Hugo's only friend is a broken mechanical doll left behind by his late father. While searching for the secret, Hugo meets Isabelle, a girl who has the Heart Key needed to repair the mechanical doll, and Georges, an old man who has given up on his past dreams. They then learn that Hugo's mechanical dolls contain secret Arrival that will change their lives and the fate of the world. Guided by a mechanical doll, Hugo's adventure to repair the world begins now.

Index

• The relationship between masters and new media
• Scorsese's deep relationship with 3D
• Different use of CG and real-size sets
• About 3D effects
• Méliès's 3D film was born by chance.

The relationship between masters and new media

With the box office success of Avatar (2009), film companies have dramatically increased the number of 3D movies they release in order to increase profits. Then, the third 3D movie boom followed the first boom in the 1950s, which will be described later, and the second boom in the 80s, represented by Friday the 13th Part 3 (1982) and Jaws 3 (1983). is coming. However, there were quite a few films that seemed to have been made into 3D, even though the director did not wish to do so.

However, amidst all the excitement, it came as quite a surprise when directors such as Werner Herzog, Wim Wenders, and Jean-Luc Godard announced their 3D projects one after another. This is because they are masters with a strong sense of auteurism, and it is no surprise that they stick to traditional film techniques.

In particular, Martin Scorsese, who directed ``Hugo'' (11), which we will discuss this time, is also the chairman of ``The Film Foundation ,'' a non-profit organization that works to restore and preserve old movie films. has a conservative image.

However, it was Scorsese himself who came up with the idea of ​​digital cinema in the first place. This is because fading of color film became a problem in the late 1970s, and Scorsese shot `` Raging Bull '' (1980) on black-and-white (with some color) film as a sign of protest against the manufacturer.

At this time, in order to find another solution, he told Mr. Shuichi Tamegaya (currently a councilor of Joshibi University of Art and Design) of NHK at the time, ``NHK was developing a new video system called high definition that does not fade. By the way, could you please show it to me?'' he asked. At this time, high-definition was not yet adopted as a total system for film production. However, I am amazed at Scorsese's foresight, and understand that he felt strongly about the importance of preserving films for a long time.

Scorsese's deep relationship with 3D