The new “Lion King”: a 3D movie unlike any other

Disney’s 3D remakes of classic cartoons have been a hit at the box office in recent years, but the studio is counting on its latest addition, “The Lion King,” to propel itself to the top.
With a budget of $ 325 million and a cast of stars like Beyoncé for the voices of the characters, the expectations are great for this film which traces the cult story of the lion cub Simba avenging the death of his father.

Promising sign: The trailer of the new Lion King was viewed 225 million times in 24 hours when it was released in November, breaking records at Disney.

Almost every scene in the film that comes out Friday, from the sparkling mane of Mufasa with the strangely realistic eyes of the hyenas, was created from computer-generated images.

Yet, The Lion King is not a conventional 3D animated movie.

The film drew some of his inspiration from British documentaries David Attenborough.
The film drew some of his inspiration from British documentaries David Attenborough.
Virtual reality

According to his director Jon Favreau, he is even completely new: a film shot by a traditional cameramen team, but within a world of virtual reality in 3D.

Authors and actors have been able, virtual helmets to support, “to enter” as in a video game in an African savannah to film or simply watch frowning computer-generated raw versions of Simba and his friends.

“The team was putting on their helmets, going out there, exploring the surroundings and putting their cameras into virtual reality,” Jon Favreau told reporters in Beverly Hills this week.

Methods that have delighted the young JD McCrary, the voice of Simba at the beginning of the film.

“We put helmets and we had these kinds of remotes in our hands,” he says. We could see everything, the lands of pride, the rock of pride … We saw everything, it was great! ”

Teams with no knowledge of high-tech special effects could bring their experience and traditional techniques, as well as their equipment, into the virtual reality studio.

Operators and screenwriters could watch the film unfold before their eyes and make live adjustments, such as lighting.

Then the images were sent to London, to the visual effects company MPC, which gave them the luster of the final version.

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