![]() I realized that this movie is about bringing these people back into our lives again."Īfter restoring the images, Jackson decided he needed authentic audio too. You just understand that these were human beings. They’re no longer buried in a fog of film grain and scratches and shuttering and sped-up footage. They just jump out at you, especially the faces. ![]() "Jackson made them (the film's colorists) put on the uniforms, go out in the sun and look at them. It was an amazing forensic adventure."Īfter a lengthy film-restoration process led by Park Road Post Production, Jackson said, "what really hits you is the humanity of the people on the film. "One of the things we spent a lot of time on was what does mud look like?" Parry said. He photographed green countrysides once torn apart by years of brutal trench warfare, then sent those reference images to the specialists working on color grading to ensure the resulting images were authentic. Parry, speaking at last week's On the Lot conference at Paramount Pictures in Los Angeles, said Jackson was exacting when it came to recreating the correct colors of the era's uniforms, gear, battlefields and neighborhoods, down to the actual brickwork on walls in footage shot in a small French village. In all, Jackson's project required 2.5 years of restoration work, followed by another year of production, said Aaron Parry, EVP and Chief Creative Officer for StereoD, a 3D post-production company owned by Deluxe that worked on the project. Steps in the restoration of 100-year-old images from "They Shall Not Grow Old" documentary by Peter. That film went on to a lengthy run at the U.S. veterans of the Iraq and Afghanistan wars. The filmmakers used a lot of the Ken Burns effect and stitched stills together to create an entire 3-D film short, with voiceovers by U.S. That project was built around restored stereoscopic stills taken by British, French, German and American soldiers in WWI. The film is somewhat similar to Soldiers' Stories, a 2014 documentary short by Oscar-winning producer Nick Reed (The Lady in Room 6) and director Jonathan Kitzen. ![]() This film will give you an insight into their lives." "What these guys are describing are things that my grandfather - or anybody’s grandfather or great-grandfather - would have experienced. In putting together the project, Jackson said he eventually decided "this should just be an average man’s experience of what it was like to be an infantry soldier in WWI," he said in a written interview from his long-time studio, Warner Bros. He settled on restoring and updating about 100 hours of that hundred-year-old footage so that it looked like a modern-day film, speeding up the hand-cranked footage to a modern 24 frames per second, then converting it all into 3D format. Heading into the centennial of WWI's 1914 beginning, England's Imperial War Museum approached Jackson to create some unique project built around more than 2,200 hours of film footage the museum had. Jackson's own grandfather was part of New Zealand's WWI army, and the Jackson family home had plenty of books and other memorabilia about the war when he was growing up. ![]()
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