Schlagwortarchiv für: TRON Legacy

TRON prägte mit seinem bildgewaltigen Computer-Universum eine ganze Generation. Und die Geeks waren sich sicher: Flynn lebt! Im Januar 2011 kam mit TRON: Legacy endlich die Weiterführung der Geschichte um reale Personen in digitalen Systemen als ein 3D-Kinohighlight auf die digitalen Leinwände und spielte weltweit über 400 Mio. Dollar ein. Der Actionkracher beeindruckte vor allem durch das fantastische Filmdesign, die bildgewaltigen Animationen und den kongenialen Daft Punk-Soundtrack.

TRON: Legacy erschien am 1. Juni 2011 auf DVD, Blu-ray und natürlich auch als 3D-Blu-ray. Zudem ist der Kla

ssiker TRON erstmals auf Blu-ray zu haben. Zum DVD und Blu-ray-Start konnte ich  bereits ein Interview mit dem Visual Effects Supervisor Eric Barba führen. Und auch mit dem Head of Animation des Films, Steve Preeg, konnte ich ein Interview über seine Arbeit an den digitalen Effekten, künstliche digitale Charaktere und die Einsatzmöglichkeiten von stereoskopischen 3D führen.

DigitaleLeinwand: Can you talk about which films have influenced you? Steve Preeg: The most inspirational film to me is Baraka. It is sort of a film about everything. Every time I watch that film I can take something else out of it. There is something for every mood and every aspect of life in there, so I watch it about once every 6 months, just to see how amazing our lives and planet really are.

DigitaleLeinwand: How did you first get involved in this project?
Steve Preeg: Just as Button was wrapping, Eric (the VFX supervisor) was approached by Joe Kosinski and Disney about doing Tron. Having worked with him for a few years prior, he asked me to be involved, which of course I had to say yes. It’s Tron after all.

DigitaleLeinwand: What was it like working with a first-time director like Joe Kosinski contrasted with working with a veteran like David Fincher?
Steve Preeg: They are both great filmmakers. With David you expect him to give great direction and explain exactly what he wants, and he does. As a first time director, I was amazed at how similar Joe was to David. Joe is very clear on what he wants; he had everything in his head of what he wanted. This was a really tough movie to direct for even a seasoned film veteran and Joe took it in stride more than I think anyone thought possible, plus he had a baby right in the middle of production. He is an amazing guy; I would love to work with him again.

DigitaleLeinwand: Were you a fan of the original Tron?
Steve Preeg: Of course. I don’t see how anybody wouldn’t be. It was so far ahead of its time and so groundbreaking. Plus after conversations with Steve Lisberger (the director of the original Tron) there is so much more to it than people think. He has amazing insight on our world and I think Tron had a lot of additional meaning that Steve was trying to make.

DigitaleLeinwand: Did the first Tron film in any way inspire you have a career in special effects?
Steve Preeg: Not only was it an inspiration but it started the work that is my career, it has been great meeting some of the original crew of the first Tron and to see how hard it was to make the first Tron, they were true pioneers.

DigitaleLeinwand: Did the look of the original movie limit you in your creativity or was there still room for new ideas?
Steve Preeg: I think it helped spur creativity. How do you take that original look and update it for a new generation? That was one of the most challenging and fun parts about working on this film.

DigitaleLeinwand: How much pressure did you feel in not only making a sequel to Tron but also in creating the world of Tron now?
Steve Preeg: This is the most pressure I have felt on any film I have worked on. Trying to live up to Tron, the grandfather of the industry I work in, was always in the back of our minds and often in the front of our minds, too.

DigitaleLeinwand: What was the biggest challenge in making Tron: Legacy?
Steve Preeg: For me personally it was just trying to live up to the legacy of the original Tron. That film started the industry in which I work and is kind of considered holy ground by many of my peers, there was a lot of pressure to not screw it up 🙂

DigitaleLeinwand: Have fans of the original ‘Tron’ been supportive of the visual effects that you included in ‘Tron: Legacy?’
Steve Preeg: From the responses I have gotten, it seems that fans of the original were quite happy with our work.

DigitaleLeinwand: What was your favorite sequence in Tron: Legacy, as a fan and as an animator?
Steve Preeg: I personally really enjoyed the light bike sequence. It has a bit of the original Tron in it but got to be updated for a whole new generation of audience members. It was a real thrill to work on that sequence.

DigitaleLeinwand: Can you differentiate between your responsibilities as Head of Animation and, for example, VFX Supervisor, as far as it pertains to Tron Legacy?
Steve Preeg: As head of animation, I was responsible for the movement of everything. From Clu to lightbikes, if it moved that was my responsibility. The VFX is responsible for the look of the film and making sure it matches the director’s vision. So the VFX is dealing with a lot of lighting, modeling, textures, etc. That said, Eric (the VFX) and I collaborate on just about everything. We have a great working relationship and I have no problem hearing his comments on animation just as he listens to my suggestions about lighting, etc.

DigitaleLeinwand: Percentage wise how much of the film is live action compared to CG would you say?
Steve Preeg: In the Tron world every shot had some digital work done, even if it was just suit enhancement. Probably about half of the real world footage had work done to it. I am not sure how much of the film was completely CG but I would guess about 20% maybe, all of the lightbike and lightjet sequences were all CG and a large portion of the disc game, as well as the big cityscapes.

DigitaleLeinwand: What was the hardest part of the animation in Tron: Legacy?
Steve Preeg: For sure the hardest part was Clu, bringing a human being to the screen has long been considered impossible in CGI, as humans are very used to looking at other humans faces. Avoiding what is known as the uncanny valley is what we all face in this industry in regards to this type of work.

DigitaleLeinwand: When “Tron Legacy” was released, some people talked about the Clu 2 recreation. It`s completely digital?
Steve Preeg: Clu’s head is always 100% digital. His body is sometimes a body double and sometimes all digital.

DigitaleLeinwand: Was the process similar in Tron: Legacy working on de-aging Jeff Bridges as Clu 2 to the aging effects applied to Brad Pitt in Benjamin Button?
Steve Preeg: There was a lot of similarities as far as the work at Digital Domain itself, the main difference was on the acquisition of the data. With Button we captured Brad Pitt months after principal photography, but Jeff Bridges wanted to be captured on set in the moment which required us to come up with some new hardware as well as software to deal with the difference in the data we were receiving here at Digital Domain.

DigitaleLeinwand: Can you explain the uncanny valley? How did your experience on Benjamin Button help you?
Steve Preeg: The uncanny valley basically suggests that as a character gets closer and closer to real looking, people respond better and better to it, until you get ALMOST real, and then people become disgusted by it. I think signs like skin that’s off color; eyes that stare off to infinity, etc. are some of the things that throw characters into the uncanny valley. There are many theories about why this is true, but the best one I have heard is that over the generations we have learned to avoid dead bodies to avoid disease, and many of the signs of a dead body are exactly what the uncanny valley seems to be about. Our work on Button certainly helped us learn more about what humans accept and don’t accept about another humans face, but there is still a lot to learn.

DigitaleLeinwand: What is the advantage of your E-motion capture technology compared to the performance capturing system James Cameron used in AVATAR?
Steve Preeg: They are really different tasks. On Avatar, the capture was happening with the body and face at the same time. We needed to make one person’s facial performance on another person’s body movement. They are both very difficult tasks, but require different methods.

DigitaleLeinwand: Digital characters are more and more perfect like Neytiri in „Avatar“. Actors in digital roles in the eyes of critics are not real, but we all see their fantastic performances – do you think in future actors will receive awards for their digital roles?
Steve Preeg: I hope so. It is just as valid of an acting job to be a digital character and in some ways even harder as there is not always something to react to. Someday I hope the recognition is there.

DigitaleLeinwand: Do you think that digital actors could replace human actors? What about recreating digital personalities for a movie, like Elvis, Humphrey Bogart or Marilyn Monroe?
Steve Preeg: That’s a tough question. In general we rely heavily on the performance of the actor to give us a character. We aren’t really out to replace human actors since they are the ones that breathe life into our digital characters. As for bringing someone back from the dead, you can never really get a dead persons take on a role, all you can try to do is mimic what you think they might have done. It may be believable to an audience, but in the end it is not really that persons performance, it’s just a copy.

DigitaleLeinwand: How much experience did you have with 3D prior to this film?
Steve Preeg: Very little, our company had done one 3D conversion, but I didn’t work on it. It was certainly a learning process for me.

DigitaleLeinwand: The opening sequence was shown in 2D- was this an artistic or a technical decision? (the real life-scenes seemed perfect in 3D for me….)
Steve Preeg: That was the director’s decision. He wanted the Tron world to feel different, sort of like how the Wizard of Oz was black and white in the real world and in color in Oz. It was a similar effect he was going for.

DigitaleLeinwand: Where do you see the advantages of 3D for telling stories like TRON: LEGACY?
Steve Preeg: I think in a film where you create a whole new world for people to see is a great place for 3D to be used. You can really use it to give a feeling of actually being in this new place, that’s where I would like to see it used more. I don’t think we need to start seeing romantic comedies in 3D, but that’s just me.

DigitaleLeinwand: Can you explain the additional difficulties that you had to solve, because the film was shot in 3D? Did you play with 3D effects to enhance some visual effects?
Steve Preeg: Well first off there are two cameras to track and they have to be far more accurate tracks than traditional VFX tracks, because the two together define the depth of an object. It also makes it harder for the end of the pipeline where traditionally you can always paint or nudge things in the final composite, but with 3D that paint work has to be the same in both eyes and that presents a problem, as well. There are quite a few other issues, like polarized light (such as reflections) showing up different in the two cameras, vertical disparity, using elements from two takes that had different 3D settings, the list goes on and on.

DigitaleLeinwand: Do you think 3D is here to stay or will it move out of fashion again?
Steve Preeg: That’s a tough call. I think it will depend a lot on the home market and if the box office difference stays as high as it is. I know there are some indications that it is dying down, so maybe it is on its way out, but I don’t think anyone really knows.

DigitaleLeinwand: Did you have to create any new tools and use anything unique to generate the effects?
Steve Preeg: Most films we work on require some new tools to be created, we never get a director that comes and says, „just make what you did before.“ They always want to push it to the next level. On Tron we had to write new tools for the 3D part of it, as well as a new facial solver for the type of data we were receiving from set. There were a whole host of additional smaller tools written for the different departments, and we are continuing to develop those tools for our current and upcoming shows.

DigitaleLeinwand: What would you do different now when you look back at the movie?
Steve Preeg: After every film we examine what we did right and wrong and make a list of what could be done better. There is always room for improvement on technique and execution. I think for myself, there are a number of advancements on how we approach human faces that will change our process, had we known then what we know now, we probably would have tried to implement some of that on Clu. I think we will be learning new things about how to create humans for a very long time to come.

DigitaleLeinwand: Have you watched a movie you’ve worked on and caught a „bug“? A little glitch or quirk that was missed, probably something nobody else would even notice, that made you cringe in your seat?
Steve Preeg: I really have a hard time watching movies I have worked on because that’s all I see. There is never a finished shot, I always feel like we could do more, but at some point it has to get out to theaters.

DigitaleLeinwand: Was there any thought to redoing any effects for the Blu-ray release? It must be tempting to go back and redo Clu with what you’ve learned since then.
Steve Preeg: I think in this industry we would always like more time or a shot at redoing things. We never really finish a shot; it just gets taken away at some point. The option for redoing any FX for the Blu-ray would not have been up to us, but it sure would have been fun.

DigitaleLeinwand: Do you have any words of wisdom for aspiring film makers who want to get into animation?
Steve Preeg: Make sure you love the craft. Don’t try to get into this industry because you think you will get rich or meet famous people. We work really hard in this industry and without a true passion for film and the work you do, you will burn out quickly. I think maybe that’s true for a lot of industries, work on what you love to do.

DigitaleLeinwand: Steve, thank you very much for the interview! Any final thoughts?
Steve Preeg: Well I just hope people enjoyed our work and the film itself. It was a real pleasure working on it as well as sharing some insight with you!

Bilder © Disney · Alle Rechte vorbehalten.

Flynn lebt! Und sein Sohn Sam nimmt uns mit auf eine abenteuerliche Reise auf das digitale Raster. Ab heute ist die Fortsetzung des Kultklassikers der gesamten Computer-Generation TRON: Legacy endlich auch auf Blu-ray, DVD und auch als 3D-Blu-ray erhältlich! Und erstmals ist auch der originale TRON als aufgearbeitete Blu-ray in zwei Fassungen erhältlich! Mit etwas Glück gehört euch schon bald die TRON: Legacy Blu-ray!

Ich durfte sie bereits testen! Die Blu-ray zeigt die bombastischen Bilder des Film in bester Bildqualität: absolut klar, gestochen scharf und- was vor allem manchen Kinobesucher aus zu dunklen Kinoprojektionen freuen wird- sehr konstrastreich. Eine absolute Blu-ray-Referenz! Und als kleines Goodie sind einige Szenen im IMAX-Format enthalten- also nicht wundern, wenn plötzlich die schwarzen Balken oben und unten verschwinden.
Keine Frage, das stereoskopische 3D des Films kommt durch die brillante Bildqualität hervorragend als erweiterndes Gestaltungselement zur Geltung. Ich hätte gerne auch die Anfangssequenz des Films in S3D gesehen, das wären spektakuläre Bilder geworden.
Und auch der Sound ist fantastisch: aufregendes Sounddesign, großartiger Score von Daft Punk und das ganze in eindrucksvollem 7.1 DTS.

TRON: Legacy ist als DVD, Blu-ray und 3D-Blu-ray erhältlich, TRON als DVD und BD, sowie beide Filme zusammen als DVD- oder BD-Box:

Nachdem Kevin Flynn (JEFF BRIDGES) für 20 Jahre in der digitalen Welt Tron gefangen war, trifft er in TRON: LEGACY überraschend auf seinen mittlerweile erwachsenen Sohn Sam (GARRETT HEDLUND). Sam Flynn, wie sein Vater ein Computerspezialist, untersucht den Ursprung eines merkwürdigen Signals, das aus der alten Spielhalle seines Vaters kommt, als er plötzlich in ein virtuelles Parallel-Universum hineingezogen wird.In der digitalen Welt, die sein Vater selbst erschuf und ihn seitdem gefangen hält, wird jedes Spiel tödlicher Ernst. Mit Unterstützung der furchtlosen Kriegerin Quorra (OLIVIA WILDE) begeben sich Vater und Sohn auf die lebensgefährliche Reise durch eine visuell verblüffende digitale Welt… verlost mit freundlicher Unterstützung der Walt Disney Studios Motion Pictures Germany GmbH die TRON: Legacy- Blu-ray sowie zwei TRON-T-Shirts des Designer Michalsky plus je einem Jojo mit Leucht-Effekt.

Einfach die Lösung der Gewinnspielfrage mit Namen, Mailadresse, Postadresse und T-Shirt-Größe an schicken. Einsendeschluss ist der 08.06.2011 um 12 Uhr. Die Gewinner werden direkt per Mail benachrichtigt. Hier die Gewinnspielfrage: “Wie lautet der Name des Programms, das ein (jüngeres) digitales Ebenbild von Kevin Flynn darstellt?”. Rechtswege sind Off-Grid, und von daher ausgeschlossen. Ich wünsche allen viel Glück!

Bilder © Disney · Alle Rechte vorbehalten.

TRON prägte mit seinem bildgewaltigen Computer-Universum eine ganze Generation. Und die Geeks waren sich sicher: Flynn lebt! Im Januar 2011 kam mit TRON: Legacy endlich die Weiterführung der Geschichte um reale Personen in digitalen Systemen als ein 3D-Kinohighlight auf die digitalen Leinwände und spielte weltweit über 400 Mio. Dollar ein. Der Actionkracher beeindruckte vor allem durch das fantastische Filmdesign, die bombastischen Animationen und der kongeniale Daft Punk-Soundtrack.

TRON: Legacy erscheint am 1. Juni 2011 auf DVD, Blu-ray und natürlich auch als 3D-Blu-ray. Zudem ist der Klassiker TRON erstmals auf Blu-ray zu haben.

Zum DVD und Blu-ray-Start konnte ich in einem Interview mit Eric Barba, dem Visual Effects Supervisor von TRON: Legacy, über seine Arbeit an den digitalen Effekten, den trickreichen Herausforderungen und dem Einsatz von stereoskopischem 3D sprechen.

Seit 14 Jahren gehört Eric Barba zum Team der Effektschmiede Digital Domain und arbeitet gleichermaßen für Filme und Werbespots. Bei Luc Bessons Sci-Fi-Hit „Das fünfte Element“ war Barba erstmals für Digital Domain tätig, stieg dann bei Walter Hills problembelastetem Sci-Fi-Projekt „Supernova“ vom Digital Artist zum Computer Graphics Supervisor und schließlich bei David Finchers Thriller „Zodiac – Die Spur des Killers“ zum Visual Effects Supervisor auf. Für seine Arbeit am Film “Der seltsame Fall des Benjamin Button“ wurde er mit dem Oscar® ausgezeichnet.

DigitaleLeinwand:  Eric, what movie has influenced you the most?
Eric Barba: I have to say Star Wars. It made a mark on my creative inner child.

DigitaleLeinwand:  What is your favorite special effects shot of all time ?
Eric Barba: This might sound self-serving, but I think the shot in „Benjamin Button“ where an old Brad Pitt flexes in the mirror marks a particular spot on the timeline of film. But that’s just me.

DigitaleLeinwand:  Were you a fan of the original Tron?
Eric Barba: I was a huge fan of the original. I remember seeing it in theaters, and being totally blown away.

DigitaleLeinwand:  How do you feel about the original film?
Eric Barba: The original film has a very warm spot with my inner child. It will always be that way. And of course getting to meet and work with Steve Lisberger was pretty great.

DigitaleLeinwand:  Did you feel a lot of pressure because of the original film?
Eric Barba: Yes, we felt a huge burden of living up to what all the Tron fans would want this movie to look and feel like. It was constantly on my mind. The first film made an indelible mark on me, and that was a tall order for us to live up to.

DigitaleLeinwand:  What was it that inspired you to get your line of work in the first place?
Eric Barba: Like a lot of artists in the visual effects world, I was inspired by everything from Star Wars to the original Tron film. But what got me intrigued with visual effects, was the idea that computers could be used as art and design tools to help make things that we hadn’t seen before.

DigitaleLeinwand:  How did you get involved with TRON: Legacy?
Eric Barba: I had worked with Joe on a few commercial projects before, and we both kind of shared a mentor in David Fincher.

DigitaleLeinwand:  Did the look of the original movie limit you in your creativity? How did you visually tie the original film and the sequel?
Eric Barba: I don’t think the original film limited Joe. I think Joe had a really clear vision of what he wanted to do and he embraced the evolution of the grid.

DigitaleLeinwand:  Did you feel constrained by the look and world setup by the first movie?
Eric Barba: I never felt constrained, but it did take me a bit to figure out what the world should look like once we had the live action plates. There was a balance in Joe’s vision that had to be worked out from art work to finished shot.

DigitaleLeinwand:  How important was the early test that was created (and shown to audiences) in realizing the final vfx and approach to the film?
Eric Barba: To me it was a starting point. But I told Joe that I wanted to go much further with everything and of course, he agreed. Tests don’t always have the resources you’d like, so it’s natural to know you can do much better if given the chance.

[Den Screen-Test kann man sich hier nochmal ansehen]

DigitaleLeinwand:  How hard was it to do these visually amazing scenes, but still keep the feel of the original film?
Eric Barba: The hard part was both technical and artistic. And it was very hard. If they are done correctly, then you only enjoy them. I’m glad you thought they were amazing.

DigitaleLeinwand:  Was this film your most difficult assignment in terms of effects? If not, what was?
Eric Barba: This film was by far the hardest thing I have ever done. It was a huge challenge. From a visual effects standpoint, so much had to be invented and live up to what we all remembered and loved about the original Tron.

DigitaleLeinwand:  Do you have a favorite scene that you worked in the film?
Eric Barba: Yes. I think for me, the Disc Game sequence is the favorite. That sequence went through a lot of changes and complex problem solving and I was very happy with the final result of the team’s efforts.

DigitaleLeinwand:  What creations in Legacy are uniquely yours?
Eric Barba: One of the cool parts of my job is working collaboratively with everybody. Joe was great with everybody and I would throw out ideas and show him things to see what he thought. Most of the time he did like what we brought to the table.

DigitaleLeinwand:  What percent of TRON Legacy was visual effects? Would you say the movie was 90% your work?
Eric Barba: I would say that probably 85 percent of the film had a visual effects component.

DigitaleLeinwand:  What was, for you, the hardest part of the visual effects in Tron: Legacy? Clu 2 doesn’t count. 😉
Eric Barba: Establishing the look of the Grid. When you look at the art work, you would think it would be easy but once you get the live action and a moving camera, it’s actually a challenge to make everything work visually and still be interesting.

DigitaleLeinwand:  What was the hardest thing you had to design for the film?
Eric Barba: The hardest thing (other than Clu) was the look and feel of the Disc Game sequence. It was a huge challenge, and I’m happy with how the team rose to the challenge.

DigitaleLeinwand:  What was the most time consuming scene when it comes to special effects?
Eric Barba: The shots that involved Clu were the most time consuming. If I had to pick a particular scene, it was probably the scene where Sam meets Clu. The lighting in that scene provided challenges and we spent a lot of time making all of it work.


DigitaleLeinwand:  Now that TRON: Legacy has been viewed by the masses, how was the reception of Jeff Bridges’ rejuvenation?
Eric Barba: The overall reception to Clu was good. We had all types of reactions of course, but most enjoyed the character.

DigitaleLeinwand:  The facial expressions on Jeff Bridges were more realistic in the grid than in the Real-World-Sequences. Is facial animation and replacement of characters easier in fully animated exteriors?

Eric Barba: All of the facial expressions were driven by Jeff, and made from his facial movements. Facial animation at the photo-real level is incredibly difficult for many reasons.

DigitaleLeinwand:  Did you also create „invisible effects” in the film, for example to erase or correct things we should not see? Can you cite some specific examples?
Eric Barba: There are plenty of invisible effects in the film. One good example might be that Jeff Bridges did not sport his natural beard for the shoot and there were digital retouches to the fake beard.

DigitaleLeinwand:  Which movie was harder to do as far as de-aging its stars? The process seemed to work better with Button so I was wondering if that was due to the way it was captured.
Eric Barba: Tron was far harder. The de-aging in „Button“ was not nearly as big a leap, and certainly not in 3D.

DigitaleLeinwand:  How does 3D affect your approach to your work?
Eric Barba: 3D affects a lot of the up-front planning. Traditional techniques for tracking, roto and compositing were much more difficult. Then on the back end, finishing a shot in 3D means it has to work with the shots around it. And has to work on a fifty foot screen in a two hour movie. A lot of thought went into the stereo 3D on every shot.

DigitaleLeinwand:  The 3D effects in the final film are seamless, how long did that take?
Eric Barba: Thank you so much for that nice remark. It took two and a half years from when I started till when we delivered.

DigitaleLeinwand:  Did filming in 3D make your job any harder than it otherwise would have been?
Eric Barba: Filming in 3D made everything harder. The whole 3D process was new to me and my team, and the rules had not been written, nor the tools when we started. We had to make stuff up as we went.

DigitaleLeinwand:  Where do you see the advantages of 3D for telling stories? Did you play with 3-D effects to enhance some visual effects?
Eric Barba: 3D is another tool for a filmmaker to use to help the audience feel immersed in the story. We definitely played with the 3D to help make the Grid a more immersive place.

DigitaleLeinwand:  Concerning the tools you used, what are the trends on the software- and work flow-side of films? Are there any tools you think will become a defacto standard in the near futures? And (given the choice) what are your preferred tools?
Eric Barba: We have seen Maya become the standard for 3d animation. And I think during the time Tron Legacy was in production, Nuke has become the standard for compositing.

DigitaleLeinwand:  What’s your favorite aspect of the work you do? What in particular are you the most proud of in terms of pushing the envelope of effects?
Eric Barba: I come from the artist side of things, so I really enjoy making great looking work. I have to wear my technical hat to push the envelope but I am surrounded by an amazing team that helps figure all the really hard stuff out. I’m most proud of our planting a flag on the other side of the Uncanny Valley.

DigitaleLeinwand:  What was your favorite part of working on Tron: Legacy?
Eric Barba: I really enjoyed working with so many talented artists. Everybody on the show was very motivated to make the best of their part. From Joe to every single artist, there was a sense of making something that had to live up to what came before, and we felt we had to give 200 percent. Collaboration would be the key answer.

DigitaleLeinwand:  What was the most rewarding part of this film for you?
Eric Barba: I honestly enjoyed working with so many talented artists. When you have a highly motivated team that just can’t wait to get to work in the morning that makes the whole thing fun. Then when they see the final result and are happy to have spent their time working on it, it makes it very rewarding.

DigitaleLeinwand:  If you could do something over for TRON: Legacy- what would it be?
Eric Barba: As an artist, you are never really finished. You always want to work on something, finesse or change something. But the realities of making a movie mean that at some point you have to let go or it gets ripped from your clutching fingers. So there are plenty of things I would like to take another pass at.

DigitaleLeinwand:  What are you working on right now, and what are its challenges? What experiences from Tron Legacy are valuable to you now?
Eric Barba: I’m working on a few projects with Joe Kosinski actually. I’ve learned so much over my time on „Legacy“ that all carries forward. I’m not trying to be vague, but there really is so much I learned from the experience. I like to say, what doesn’t kill you makes you stronger.

DigitaleLeinwand:  Will you be involved with the animated series Tron: Uprising at all?
Eric Barba: No, unfortunately.

DigitaleLeinwand:  Are you involved in the new Kosinski-Project (Black Hole)?
Eric Barba: I hope to be when that project moves forward.

DigitaleLeinwand:  Do you have any words of wisdom for aspiring film makers who want to get into vfx?
Eric Barba: I always tell people who ask me that question: it’s always the basics that help the most. Learn to paint, sculpt and draw. Pick up a camera and learn the fundamentals. Anybody can learn the software, but if you don’t have the fundamentals, you won’t know what to do with it.

DigitaleLeinwand:  What would you say to an aspiring filmmaker trying to get their foot in the door?
Eric Barba: Kick the door open. Make a small movie with whatever tools you have available, tell a story, and then do it again. I tell young artists that one of the best director reels I’ve seen was a guy who shot everything in his bedroom on a hi8 camera, and he was the star. Practice your craft, and if you have talent, it will show.

DigitaleLeinwand:  Eric, thank you for this interview!
Eric Barba: Thank you all for the great questions. I hope you enjoy the Blu-ray. We had a great time making the movie and we really did put our all into it!


Bilder © Disney · Alle Rechte vorbehalten.

Das 3D-High-Tech-Abenteuer TRON: LEGACY wird neue Standards für das Erleben digitaler Welten auf der Kinoleinwand setzen und die legendäre Geschichte von TRON weiterführen: Schon 1982 sorgte TRON als erster partiell computeranimierter Spielfilm für Furore und hält bis heute durch seine innovativen visuellen Effekte Kultstatus. Nachdem Kevin Flynn (Jeff Bridges) für 25 Jahre in der digitalen Welt TRON gefangen war, trifft er nun in TRON: LEGACY überraschend auf seinen mittlerweile erwachsenen Sohn Sam (Garrett Hedlund). Während das Technik-Genie das jahrzehntelange Verschwinden seines Vaters untersuchte, wurde es selbst in die digitale Welt gezogen. Gemeinsam mit Kevins loyaler Gefährtin Quorra (Olivia Wilde) begeben sie sich auf eine lebensbedrohliche Reise durch dieses visuell-atemberaubende Cyber-Universum, das viel höher entwickelt und gefährlicher ist, als zunächst vermutet.

TRON: Legacy startet am 27. Januar 2011 überall in den deutschen Kinos. Natürlich in 3D.


Der offizielle deutsche Trailer für TRON: Legacy

Der 3D-Trailer im Side-by-Side-Format:

Die TRON Legacy-Bildergalerie:

[slidepress gallery=’tron-legacy‘]

Das deutsche Plakat für TRON Legacy:

Bilder © Disney  · Alle Rechte vorbehalten.

Ihr habt es anderenorts schon gelesen, der sonst eher Sportbrillen-Hersteller Oakley wird pünktlich zu TRON Legacy eine limitierte, schicke und hochgradig professionelle 3D-Brille herausgeben. Die HDO-3D™ Gascan-Brille verspricht höchsten Tragekomfort, beste Bildklarheit mit schöneren Farben und einem helleren Bild mit perfektem 3D-Alignment. Zudem bietet sie kratzfeste Gläser und ein schickes TRON-Design. Für den schlappen Preis von 129 € kann jeder TRON-Jünger stilecht ab dem 27. Januar im Kino sitzen.

Da fahr ich doch nichtsahnend durch die Straßen, und siehe da: in Berlin Mitte gibt es auch einen Oakley-Store. Und im Schaufenster liegt das Objekt der Begierde, natürlich prominent ausdekoriert.
Haben wollen.
End of Line.

Bilder © Oakley (1), (2) · Alle Rechte vorbehalten.

Nicht alle können nach London zur Premiere von TRON Legacy reisen, aber auch nicht alle können warten, bis Disneys neuer 3D-Knaller endlich am 27. Januar 2011 in den deutschen Kinos anläuft. Heute feiert TRON Legacy seine Premiere am Empire Leicester Square in London- und ihr könnt live am Roten Teppich dabei sein.

Und wer live noch auf dem Weichnachtsmarkt war- natürlich gibt es auch eine Aufzeichnung vom Red Carpet!
End of Line.

Watch live streaming video from tron at

Noch ist der Soundtrack der französischen Elektronik-Tüftler Daft Punk für TRON Legacy nicht veröffentlicht, es gibt aber die Möglichkeit exklusive 6 Minuten des Scores aus dem Film online zu hören. Im Rahmen der Walt Disney Studio Awards existiert eine Kampagnen-Webseite, auf der auch die Musik vorgestellt wird. Teile der Musik waren bereits in den Trailern zu hören. Für die beiden Grammy-gekrönten Musiker Guy-Manuel de Homem-Christo and Thomas Bangalter , deren wahres Gesicht niemand kennt, ist es die erste Filmarbeit.

Hier geht es zur Online-Seite mit den Musik-Ausschnitten. (aufgrund des Ansturms bitte geduldig sein oder mehrfach probieren)

Der Soundtrack wird in Deutschland am 10. Dezember 2010 als Einzel- oder Doppel-CD veröffentlicht. Und ist natürlich schon jetzt vorbestellbar!

Hier das komplette Tracklisting für euch:

Disk: 1

1. Overture

2. The Grid

3. The Son Of Flynn

4. Recognizer

5. Armory

6. Arena

7. Rinzler

8. The Game Has Changed

9. Outlands

10. Adagio For Tron

11. Nocturne

12. End Of Line

13. Derezzed

14. Fall

15. Solar Sailer

16. Rectifier

17. Disc Wars

18. C.L.U.

19. Arrival

20. Flynn Lives

21. Tron Legacy (End Titles)

22. Finale

Disk: 2

1. Encom Part I

2. Encom Part II

3. Round One

4. Castor

5. Reflections

Bilder © Disney· Alle Rechte vorbehalten.

Ladies and Gentleman, start your Lightcycle-Engines! Heute zeigt Disney im Rahmen des TRON-Days exklusive 23 Minuten aus dem kommenden 3D-Blockbuster TRON-Legacy. Wie berichtet sind auch in Deutschland sieben Kinos dabei. Und natürlich interessiert mich eure Meinung: wie gefällt euch TRON? Passt das Design? Gefällt das 3D? Wie groovt der Daft Punk-Soundtrack.

Für alle TRON-Fans habe ich eine Twitter-Wall eingerichtet. Um auch mit eurem Tweet auf dieser Wall zu erscheinen, hängt einfach #tron als Hashtag an eure Nachricht, schon erscheint sie hier.

Viel Spaß allen!

Mit TRON startete Disney ein neues Filmzeitalter: erstmals wurden Szenen in einem Film vollständig per Computer generiert. An der Kinokasse zunächst allerdings mit mäßigem Erfolg, erst im Laufe der Jahre entwickelte sich TRON zum Kultklassiker für Technikaffine, Computernerds und Games-Geeks. Und zu einem Meilenstein der Filmgeschichte, der mit seinem aufwändigen Look bis heute Stil und Design beeinflusste. Und bevor es Zweifel gibt: natürlich steht TRON steht auch in meinem DVD-Regal.

Die Fortsetzung TRON: Legacy wird weltweit mit Spannung erwartet- weiterhin treibt Disney neue Technologien vorwärts. Selbstverständlich wird TRON Legacy in stereoskopischem 3D in den Kinos zu sehen sein. Und bietet spektakuläres Design in technologischer Perfektion, natürlich mit Flynn, Lightcycle-Races und einem Soundtrack von Daft Punk. Da kommt zusammen, was zusammen gehört. TRON: Legacy besitzt das Potential der Blockbuster des Jahres zu werden, im Vorfeld werden häufig Vergleiche zu AVATAR gezogen. Zumindest wird TRON 2 die 3D-Kinokasse richtig zum Klingeln bringen. Joseph Kosinski experimentiert mit einem spannenden 3D-Konzept: Szenen in der realen Welt sind plan in 2D umgesetzt, die Szenen in der Computerwelt kommen in nativ gedrehtem 3D auf die digitale Leinwand.

Und TRON-Guys aller Länder jubeln auf, wie berichtet veranstaltet Disney am 28. Oktober 2010 weltweit die TRON-Night, in der sich Filmfans in über 40 Ländern weltweit exklusiv eine 23 Minuten lange Preview aus dem rasanten und stylischen Actionfilm TRON: LEGACY ansehen können. Natürlich in einzig wahren Format des Films in Digitalem 3D.

Sean Bailey, Produzent des Films und President of Production bei Walt Disney Studios Motion Pictures ist begeistert: “Es ist unglaublich aufregend, den Fans eine frühzeitige, exklusive Vorschau von TRON: LEGACY in 3D bieten zu können. Wir können es kaum erwarten, dem Publikum überall auf der Welt die visuell überwältigende und innovative Welt, die Regisseur Joseph Kosinski erschaffen hat, zu präsentieren“.

Natürlich haben auch die deutschen TRON-Fans die Möglichkeit auf diese exklusive Preview am 28.10.2010. Bei uns heißt die TRON-Night zwar TRON-Day und das Prozedere für die Vergabe der Tickets unterscheidet sich von den USA, wo bereits alle Tickets restlos vergriffen sind. In sieben deutschen Städten bekommt ihr die Möglichkeit für die exklusive TRON: Legacy-Preview. Die Tickets werden kostenfrei an der Abendkasse des jeweiligen Kinos vergeben, solange der Vorrat reicht. Das bedeutet: First come, first serve. Und es gibt in jedem Kino definitiv nur eine Vorstellung. bietet euch  habt ihr die Möglichkeit einen der raren Plätze auf der Gästeliste für das 3D-Kino-Event des nächsten Jahres zu ergattern! Ihr müsst nicht anstehen, sondern könnt einen für euch reservierten Platz im jeweiligen Kino gewinnen. verlost mit freundlicher Unterstützung der Walt Disney Studios Motion Pictures Germany GmbH pro Kino 1×2 exklusive Plätze auf der Gästeliste für den TRON-Day 2010!

In diesen Kinos wird am 28. Oktober 2010 TRON: Legacy als Preview gezeigt:

  • CineStar Cubix in Berlin um 20.00 Uhr
  • Mathäser Filmpalast in München um 18.30 Uhr
  • CinemaxX Dammtor in Hamburg um 19.00 Uhr
  • Cinedom in Köln um 19.00 Uhr
  • Cinecitta in Nürnberg um 19.30 Uhr
  • Rundkino in Dresden um 19.30 Uhr
  • UCI Ruhr Park in Bochum um 19.30 Uhr

Wie kommt ihr an die begehrten Plätze auf der Gästeliste? Einfach die Lösung der Gewinnspielfrage mit Namen und Mailadresse an schicken. Die gewünschte Preview-Stadt und einen netten Gruß nicht vergessen! Einsendeschluss ist der 25.10.2010 um 15 Uhr. Die Gewinner werden direkt per Mail benachrichtigt. Hier die Gewinnspielfrage: “Wie heißt lautet die Abkürzung für das Programm des Hauptcomputers der Firma Encom?”. Rechtswege sind so 80er, und von daher ausgeschlossen. Ich wünsche allen viel Glück!

Bilder © Disney · Alle Rechte vorbehalten.

Liebe Leser, bereits Im Januar dieses Jahres habe ich behauptet, dass TRON Legacy der beste 3D-Film des Jahres 2010 wird. Davon bin auch weiterhin fest überzeugt, mit der kleinen Einschränkung, dass die Fortsetzung der Nerdware TRON bei uns erst am 27. Januar 2011 startet. Grund für diese Entscheidung war das Gedrängel auf den 3D-Leinwänden in der Vorweihnachtszeit.
Die Virals haben es angekündigt, nun gab es auf der ComicCon in San Diego die Weltpremiere des neuen Trailers für Joseph Kosinskis bildgewaltige Fortsetzung TRON Legacy. Der erste Teasertrailer brachte uns zurück in Flynns Spielhalle, wo sein Sohn Sam das Geheimnis der Computerwelt entdeckt- mit der Gewissheit, dass sein Vater nicht tot ist. Wer den Teasertrailer im Kino in 3D sehen konnte, ist aufgefallen, dass alle Szenen in der realen Welt zweidimensional gestaltet sind, alle Szenen in der Computerwelt hingegen in die dritte Dimension entführen. Und die ist durchgestylt, als ob Apple auf „2001 – Odyssee im Weltraum“ meets Philippe Starck trifft.

Nun gibt es – ComicCon sei Dank – den neuen Trailer für TRON Legacy. Und der zeigt uns ein Bild aus den Kindertagen von Sam mit einem gütigen Vater Flynn. Hey, Jeff Bridges in jung! Da haben sie aber jemanden alterniert! Was für mich nicht wirklich überzeugend aussieht- vielleicht ist es aber auch ein Teil vom Konzept? Und natürlich gibt es jede Menge Action im Kampf gegen das Master Control Programm. Mit Tanks, Lightcycle-Racern und – Trailer bis zum Ende schauen!- Fluggleitern. Flugszenen sind ja mittlerweile ein Muss in jedem 3D-Film…

Hier nun endlich neues Futter für alle Tron Legacy-Fans, die sich noch ein langes halbes Jahr bis zum deutschen Filmstart am 27. Januar 2011 gedulden müssen.

Sam, I am not your father. Is there a Clu 2.0?