alan: this film is really breaking new grounds in many ways, as far as the technology and the filming goes. but john and i are still working in our time-honored methods of pencil and charcoal, composing pictures in 2D.
and we thought we’d try and come up with some way of actually incorporating a 3D aspect into the way that we were creating our concept art, that might communicate more clearly to peter (jackson) and the other technicians.
so what we’re doing is two drawings- one is in red, one is in blue… and the 3D glasses have a red lens and a blue lens, one for each eye…
john: this is probably the first serious cinema production where the actual concept art has been done in 3D. rather than sharing just the same office, we’re actually sharing, basically, the same…
both: vision, yeah.
john: there’s been a bit of a tendency for me to take on the blue, and, obviously, you know, sitting on the right-hand side of the picture, it’s easier to actually get your head around the left side. *pause*
john: …doesn’t make sense when you try and explain it like that.
john: it’s a huge help for peter, because… we’re actually proposing the full depths.
john: and it means peter has to wear glasses, when he looks at our art, but… (alan: yeah.)
peter: (looking at their art) my god, it’s coming at you! look at that. woahhh.
alan: (holding red/blue 3D glasses) if you happen to have a pair of glasses like these at home, you should be able to see the artwork in 3D.
john: (wearing 3D glasses, looking at alan) you look great! very three dimensional.
alan: you’ve definitely improved.
john: oh, psh, i know. *preens*