DiCinema

Legato went on to describe some more practical applications of adopting the Unity/VR technology. "With the actors, you only have them for two weeks. If you have an actor for two weeks and you really want them to be in your movie and half the time is taken traveling from one location to another just to get them in the location that you like or do it artificially on blue screen, you won't do it. But now you could. Now you can have an actor play a younger person and it's starting to become easier and easier to do all those things. There's a thing called Hollow Capture now. Instead of doing a motion capture thing, have somebody in a stage much like ours and photograph them from all angles. Light them the way you like them, and now they're in the computer. Now you can put any camera move you want and you can put them into a realistic-looking background. So all of a sudden you can make films that you need the scope of it, the reason of doing it but the ease of operations of doing it, that could put somebody on the same day they could be in Paris and the same day they could be in New York and the same day could be in Hong Kong. They could be anywhere to help me tell my story, and you don't give it away. And my viewpoint is, it's not a visual effect anymore if it's just moviemaking. If you just look at it and you don't pay attention to it or you don't go, 'God, what great visual effects,' it's like, 'Well, it's just a movie.' I mean, you don't say that about The Godfather when you see it. 'Whoa, great costumes, great sets, interesting light.' You just watch the film. So you don't really pick apart one of the disciplines, you just enjoy it. And what we're hoping to do in this movie that we started on Jungle Book is, why is it even called a visual effect if you just watch the movie and it looks like a movie? It's no less artificial than any other discipline that we make. We don't re-create something real life or that's authentic it's movie authentic. It's cinema, you know? We stage people in a way that makes it interesting for that particular camera. We're not really capturing real life, we're capturing movie life. Costumes are made that way. Sets are made that way. It's no less artificial than any of those other disciplines because we're making the same thing."

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