and Emmanuel Lubezki
's 22 year collaboration continues to break new ground with the release of Gravity
. Whether you enjoy Gravity or not, you may want to take a moment and consider the lengths to which Cuarón and Lubezki went to make Gravity a fully immersed cinematic experience.Here
is a 30 minutes interview with Cuarón discussing the concept, writing and execution of Gravity.
Since it is almost all CGI at one point early on Cuarón gave Emmanuel Lubezki the opportunity to back out of the job, "Chivo, (Emmanuel Lubezki's nickname) I’ll understand if you don’t want to do this. It’ll probably be horribly boring for you to deal with all the green screen. But I really don’t want anybody else but you to light it, and I think this could be something unique."
Emmanuel Lubezki is considered one of the greatest living cinematographers. His attention to the emotional content of the scene, his own operating on projects like Y Tu Mamá También
are widely revered in cinematic circles. His technical prowess on projects like Cuarón's "Children of Men
" have quickly entered the lexicon of professional cameramen.
One of the Greatest Cinematographers Ever: Gravity‘s Emmanuel Lubezki
Gravity is Cuarón/Lubezki's first digital film, since they were conceiving the film in 3D, The "grain" layer in film poses particular difficulties in the 3D as it actually "lives" on a certain depth of the film emulsion. The digital workflow used in Gravity is state of the art. here
is a good piece from the International Cinematographers local on digital workflow of Gravity which includes the best photos of the LED lighting box called "The Box" that I could find thus far. But it is not 100% film as the final sequence was shot on 65mm.
The Light Box stood over 20-feet tall and 10-feet across, with a sliding door on one side that allowed access to the interior, and a gantry hanging overhead that tethered the box to a team of VFX technicians at a computer control center. The interior of the box was comprised of 196 panels, each measuring approximately two feet by two feet, and fitted with 4,096 LED bulbs that could cast whatever light or colors were needed and alter them at any speed. Images could also be projected onto the walls, including the planet Earth, the International Space Station (ISS), or the distant stars “giving the actor the perspective of what their character was seeing,” Webber says “It was primarily so we could reflect the appropriate light on them, but it had the double benefit of being a visual reference for them, too.”
The soundtrack designed by Skip Lievsay
is also a sound tour de force