QED fills the Shepperton Studios of cinematic realism thanks to a few projectors Christie HD8K La tecnolog a de Christie permite crear para la pel cula Last Passenger (El ltimo pasajero)' un tel n de fondo que recrea las vistas desde un tren a 160 km/h.
Projectors Christie HD8K 3-chip 1920 x 1080 HD han completado una de sus giras m s inusuales al desplegarse en un plat cinematogr fico de los Shepperton Studios para contribuir al rodaje de Last Passenger (El ltimo pasajero), un nuevo filme del cine independiente brit nico.
Los cuatro proyectores fueron clave para dotar de realismo a este thriller claustrof bico protagonizado por Dougray Scott y Kara Tointon, dirigido por Omid Nooshin y con gui n de Andrew Love y del propio Nooshin.
La acci n tiene lugar a bordo de un tren de cercan as entre la estaci n londinense de Charing Cross y la localidad de Hastings, un viaje de 90 minutos y consecuencias terror ficas.
Para crear un fondo de r pido movimiento, Zack Winfield, productor junto a Ado Yoshizaki Cassuto de la pel cula, decidi , en lugar de recurrir a la trillada y no demasiado convincente t cnica cinematogr fica de la pantalla verde , consultar a QED, un partner de Christie dedicado al alquiler de equipos para artes esc nicas.
Winfield admite que quer amos crear un entorno que diera a los pasajeros posibilidad de reaccionar frente a l y que supone, de hecho, un regreso a los m todos que se empleaban hace veinte a os, pero con tecnolog a de hoy, consiguiendo hacer cre ble durante 90 minutos todo lo que se ve por las ventanillas del tren. Una sensaci n de realismo que la pantalla verde no logra transmitir, en parte por la falta de reflejos en la ventanilla pero tambi n porque el entorno falso resulta poco convincente para los actores. Pero adem s, el coste de recortar veinte ventanillas y sustituirlas con im genes en movimiento CG (gr ficos 3D por computadora) habr a resultado prohibitivo. Sab amos que recurriendo a la proyecci n lograr amos un realismo mucho mayor .
Sin embargo, los componentes del equipo de producci n no sab an muy bien c mo poner en pr ctica la idea. La soluci n vino cuando Angus Hudson, director de fotograf a de la pel cula, les inform de la celebraci n de PLASA, una muestra de tecnolog a instalada en el recinto ferial de Earls Court. l, que conoc a los productos Christie, nos dijo que esa gente sabe lo que hace. Y all fuimos. Contactamos con Christie y tambi n con UVA (empresa de procesamiento), que nos remitieron a QED , a ade Winfield.
Hyper-realistic result
El resultado han sido cuatro dispositivos m viles de retroproyecci n dotados de unas pantallas de 4,8 x 2,7 metros (con una relaci n de aspecto de 16:9), concebidos ex profeso para el plat H de Shepperton y alimentados con cables de fibra de 150 metros, de forma que la torre pudiera moverse con toda libertad sin miedo a quedarse sin cable.
Los proyectores deb an, en primer lugar, superar unos tests de frecuencia y de compatibilidad de velocidad de imagen con el servidor, de temperatura de color, de relaci n de contraste y de balance de luz; unas condiciones vitales ya que gran parte del rodaje del filme ten a lugar durante la noche. Christie cumpl a todos esos requisitos.
El contenido de lo que deb a verse por las ventanillas a 160 km por hora (y que, comenzando en el Puente de Hungerford y el London Eye junto al T mesis, comprend a paisajes urbanos y rurales, estaciones de ferrocarril y otro tipo de material f lmico) se hab a rodado con antelaci n e incorporado al servidor UVA D3, cuyas cuatro salidas HD sincronizadas alimentaban los cuatro proyectores, cada uno de ellos dotado de una lente 1.1:1.
El director de QED, Paul Wigfield, declara que su empresa se sinti atra da por el proyecto en cuanto vieron el tr iler online: Zack Winfield sab a que necesitaba una proyecci n de al menos 8K HD, y no dudamos en recomendarle nuestros proyectores Christie. Los criterios principales eran el brillo, el contraste y la resoluci n. Cuando se trabaja en cine, las l mparas xen n proporcionan el brillo y los proyectores el contraste .
Durante las pruebas se descubri que la paralaje de la imagen proyectada fallaba al traspasarse un ngulo de c mara de 45 grados en relaci n con la ventana. Por ello, para intentar conseguir, desde dos vagones inm viles, un barrido completo, las placas traseras que se emplean en retroproyecci n se rodaron en tres ngulos a cada lado de un tren real en movimiento.
El resultado es que las pantallas y el material rodado se ajustaban a las exigencias de rodaje del interior del tren. As , si hac a falta un barrido a lo largo del tren, las pantallas se situaban a un ngulo de 45 grados a cada lado del vag n, con el material proyectado en la pantalla filmado tambi n a 45 grados, consiguiendo de ese modo cubrir el espectro del movimiento sin que la paralaje fallara.
Otro desaf o para los ngulos de c mara del interior de los vagones (algunos con una longitud de 20 metros) era el que se derivaba de la existencia de las veinte ventanillas. Para resolverlo, se colocaron dos pantallas de proyector a cada lado del tren, con un retardo de un par de im genes programado en el D3 entre ambos proyectores, consiguiendo el efecto de que el paisaje pasaba de una ventanilla a otra y creando una sensaci n de movimiento extraordinariamente realista.
Richard Porter, de QED, que se encarg de supervisar la instalaci n, admite que el balance de blancos arroj 3200K, una magnitud que usamos para efectuar la instalaci n y entrenar a Hugo Peers, el supervisor de la proyecci n, quien concluy que era necesario equilibrar la atenci n al detalle de color en los cuatro proyectores .
Zack Winfield supo de inmediato que su opci n de proyector era la correcta: Aunque est bamos confiados en que la proyecci n aguantar a la visi n de alta velocidad de entornos urbanos y rurales (en donde el desenfo
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QED fills the Shepperton Studios of cinematic realism thanks to a few projectors Christie HD8K La tecnolog a de Christie permite crear para la pel cula Last Passenger (El ltimo pasajero)' un tel n de fondo que recrea las vistas desde un tren a 160 km/h. 
