Splice Here’s Carl Jacobs spent a large part of last year editing the popular new IMAX film “Space Junk 3D.”
Press Release from Splice Here:
Minneapolis– Splice Here®’s Carl Jacobs spent a large part of last year editing the popular new IMAX film “Space Junk 3D.” Collaborating closely with Director Melissa Butts of Melrae Pictures, the expansive project put the Splice team and the full-service postproduction company to the test for the unique film, which hopes to raise awareness of the serious orbital debris issue to ensure the future of space exploration and satellite communications.
To view the trailer and check theater locations: http://www.spacejunk3d.com
The 38-minute film “Space Junk 3D” opened in IMAX® and other giant screen theaters in both 2D and 3D in January. The movie is the first to explore the exponentially expanding ring of manmade debris that threatens the safety of our planet’s orbits. Narrated by Academy Award® Nominee Tom Wilkinson, the film harnesses the magical imagery of 3D Giant Screen, Full Dome, and Digital Cinema. Director Melissa Butts takes audiences soaring in “Space Junk 3D” – from the stunning depths of Meteor Crater to unprecedented view of our increasingly crowded orbits: 22,000 miles above earth. The visually explosive journey of discovery weighs the solutions aimed at restoring Earth’s orbits. Fueling the story are stunning time-lapse sequences and dynamic images that transport viewers by wrapping them in star fields and allowing audiences to witness massive collisions in space – both natural and man-made.
For Splice’s Carl Jacobs, the challenge presented by “Space Junk 3D” was exciting. Not only was the scope of the film daunting because it was to be printed to dual strips of 70mm film for large screen IMAX® 3D, but also because of the size and volume of the film’s assets (25 terabytes of 4K image files), all of which needed to be managed, viewed and tracked frame by frame. “There were over 700,000 images created for this film and we pored over every single one of them in the course of the edit,” says Jacobs. Relying on Splice’s large SAN (Storage Area Network) and flexible workflows, Jacobs says he didn’t think twice about the enormous size of the files and large volume of assets. “I enjoy taking on challenging projects that have never been done before,” says the Editor. “And Splice’s infrastructure makes huge, complex projects like ‘Space Junk 3D’ look easy.”
Having known Director Melissa Butts for many years and having collaborated together on her successful film “3D Sun,” Butts and Jacobs enjoyed a seamless collaboration throughout editorial on “Space Junk 3D.” “Mellissa’s focus was on the film’s story and the high quality of the 3D,” notes Jacobs. “She brings a lot of 3D experience to the table, but also a lot of taste, which is refreshing, since 3D can be very gimmicky. She wanted this film to have strong, purposeful 3D elements. Splice became the place where her film lived, had a home. We converted Splice’s 14-seat theater into a screening and edit room. Melissa and Producer Kimberly Rowe would come back to Splice in between their international travels shooting elements for the film, decompress a little and screen the latest cut. They knew that all their film’s assets were safe at Splice. I like to think we were the calm eye in the center of the storm it takes to make a film of this scale.”
In addition to contributing offline editorial and being a digital hub for the film, Splice’s Lead Designer Brian Olson created the 3D end credits for “Space Junk 3D.” The final shot of the film features 3D visual effects created by Splice’s VFX team. Producer Lynn Anderson managed the creative process and the film’s assets at Splice.
“The Splice team was very instrumental to the success of the film. They provided a tremendous amount of flexibility which is key with a project of this magnitude,” says Director Melissa Butts. “It's an enormous amount of data to manage and on top of that Carl kept his creative chops rolling!”
Butts and her team at Melrae Pictures worked with the National Center for Supercomputing Applications (NCSA) to create breathtaking, state-of-the-art, 3D visualizations from scientific data. Butts also consulted with NASA’s Orbital Debris Program on content for the film, which will be shown in science centers around the world. “Space Junk 3D” will have its Washington D.C. debut at the Environmental Film Festival in the Nation’s capital where it will be screened in the Smithsonian Institute’s National Museum for Natural History in March. To view the Behind the Scenes Mini Doc: http://spacejunk3d.com/makingvideo.html
“Space Junk 3D” is presented by Melrae Pictures, in association with Red Barn Productions. Produced by Melissa Butts and Kimberly Rowe. Written by Shane Colton and Michael Benson. Lead Visual Effects by Luke Ployhar. Original Music by Tom Hambleton, CAS, Edited by Carl Jacobs of Splice Here® with end credits by Splice Lead Designer Brian Olson. Director of Photography: Reed Smoot, ASC. Distributed globally by K2 Communications. The 38-minute film is available in both 3D and 2D, for Giant Screen and Digital Theaters.
About Splice Here®:
Splice Here® is a full-service post-production and design company. Located in the historic warehouse district of Minneapolis, Splice has expanded its reach nationally, collaborating closely with commercial, broadcast and feature clients and has extensive experience with digital signage and other environmental video installations. Dedicated to stellar client service and uncompromised production value, the prolific Splice team provides concepting, design, edit, color, visual effects, sound, original music and delivery for high-profile projects. Splice has recently created for Best Buy, Target, Union Bank, Edwards Ice Cream, University of Minnesota, and St. Jude Medical, as well as agencies Olson and Colle+McVoy. Splice has worked on promotion and programs for The History Channel, Discovery Channel, Food Network and Nickelodeon. Award-winning feature projects include Stuck Between Stations, Ana's Playground, Wedding Bros., Pride of Lions, 3D Sun and Good Morning, Beautiful.
