![]() We returned the work to him and had very powerful feedback which was great.” Producer Mark Simone says, “We did this test with over a couple months. In the very early stages of the process, Jackson’s post-production company, Park Road, sent some sample footage to StereoD, who began working on it. StereoD’s expertise, then, made them the perfect team for the job. In both cases, the goal is to completely engross the audience-to make us feel like we’re there. Put that way, the goal of the project wasn’t so different from the goal of 3D conversion. I wanted to reach through the fog of time and pull these men into the modern world, so they can regain their humanity once more.” Jackson is quoted as saying, “ saw the war in color, they certainly didn’t see it in black and white. You’d be hard pressed to be transported by them. Though StereoD had done some work with Weta Digital (Jackson’s special effects company) in the past, they were not expecting to be tapped for this project.Īfter all, “experience it in three dimensions” is not the first thought that comes to mind when someone says “World War I documentary.” Most documentaries about the “Great War,” as it was called, make heavy use of available footage, but varying frame rates, poor image quality, and the limited black-and-white palette constrain the amount of artistry that can go into them. StereoD specializes in 3D conversion, and their credits are impressive: everything from groundbreaking FX films ( Avatar) to revisited classics ( Titanic, Jurassic Park) to last year’s summer blockbusters ( Ant-Man & the Wasp). We spoke with Mark Simone, a producer at StereoD who worked on the film, about what it took to resurrect the men who gave their lives in that conflict. With some nigh-miraculous work by various visual effects artists, primarily the Deluxe company StereoD, They Shall Not Grow Old transports the viewer back in time to the Western Front, bringing the soldiers to life like never before. ![]() Due respect should be paid to the brave cameramen who lugged cumbersome equipment to the front lines during the “Great War,” of course, but Jackson’s film has taken their efforts to new heights. In the case of Sir Peter Jackson’s recent World War I documentary, They Shall Not Grow Old, most of the construction happened in that final stage - editing. They say you make every movie three times: once when you plan, once when you shoot, and once when you edit. Peter Jackson hopes that this documentary will inspire other archives to let filmmakers use their footage in a wider variety of projects.Peter Jackson’s vast collection of WWI artifacts was an invaluable resource during production.The filmmakers were guided in their decision-making by the desire to portray the events as the soldiers themselves experienced them.StereoD developed proprietary tools to tackle this film, including a special “palette tool” for the challenging colorization process.Most of StereoD’s projects involve converting films to 3-D, a skillset that matched the needs of this project surprisingly well.
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