This morning SpookyDan stumbled across a really cool article about The Dark Country, a 3D thriller from Stage 6, a new distribution label within Sony Pictures for low-budget films. The article is highlighted by an interview with star-turned-director Thomas Jane who talks about the 3-D process system, how they shot it and some of the scenes that we’ll see in what he calls a “film noir psychological thriller.” Read on for the story.
Today an interview with star-turned-director Thomas Jane appeared over at Studio Daily, which details the work he’s doing on the 3-D pic DARK COUNTRY. Jane calls Dark Country a “film noir psychological thriller,” and says it’s great subject matter for 3D. As an example, he cites the film’s key location — the interior of a baby-blue 1961 Dodge Polera. “When we put the camera in the back seat of the car, you feel like you’re in the back seat,” he tells the website. “You have the background, which is the landscape out in front of you; the midground, which is the bonnet of the car and the windshield; and the foreground is your subjects, the people and the seats. This enhances the stereoscopic effect. The idea of getting inside people’s heads and creating a universe the audience can really feel like they’re participating in was the challenge of making Dark Country.”
So what is it about a low-budget thriller that demanded all this cutting-edge hardware? Jane doesn’t hesitate to describe one shot that made it all worthwhile. “We did a shot where we tracked along with a character, did a 360-degree move around the car as he got into the car, and then the car took off out of the parking lot and onto the highway, disappearing into the mountains,” he says. “We ended in a big, wide high shot — we had to build a ramp. Our MK-V operator followed me out of the restaurant, went all the way around the car, then followed the car, ran behind the car as the car exited the parking lot, and then, as we exited on the highway, walked up a 40-foot ramp that we constructed to get this big, high vista.”
Jane also chats a bit about what type of 3-D they ended up viewing. “We ended up free-viewing,” he says, referring to an age-old tactic for merging a side-by-side stereo image pair by working your eye muscles to overlap two images and create a fused 3D image. “Some people can do it more easily than others. Fortunately, I had some experience, so I could check the stereo in an image if I crossed my eyes. It was really primitive, but it worked.”
Click here for the full story, which is quite interesting.