Pace Setter

When “Avatar” comes to theaters on Dec. 18 much attention will go toward its director and writer James Cameron as he makes a return to feature films following a decade of absence after the success of “Titanic.” The sci-fi film though would not have been possible without the input of Vince Pace, who, along with Cameron, co-invented the Fusion camera system to capture 3D images. His Burbank-based company started as PACE Technologies developing camera housings and other equipment for underwater filming. After transitioning into 3D, the name changed to just PACE, which its founder described as an “umbrella of talent” with a staff creating software, circuit boards and motion control devices. “We are one of those unique businesses that can be a think tank but a do tank too,” Pace said. “We just don’t sit there and say, ‘It would be great if someone built this.’ We sit there and say let’s do it ourselves.” The Fusion camera has been used for 3D documentaries, concert films and sporting events since 2001 but it will be Cameron’s movie on which the entertainment industry seems to be putting much of its hopes that the format will truly catch on with general audiences. In the years of developing the camera system Pace has learned a thing or two about the 3D format, stating that it’s the balance between the eye and the brain that makes the images on a screen seem real to the viewer that is at the center of the format and not the three dimensions. The Fusion system is able to extract more emotion, character, talent and athleticism by its ability to make the images real, Pace said. “You can see how quick Kobe (Bryant) is off the line because you can see that dimension he is running in rather than just a flat surface,” Pace said. Question: Has 3D arrived? Answer: It’s gaining notice. I thought it arrived four or five years ago. Now the public is agreeing with the fact that it really has arrived. It’s certainly gaining a lot of notice in the industry. Q: Did you start your company specifically to develop 3D cameras? A: No, not at all. The company started out in the underwater field. We specialized in underwater production – film cameras, video cameras, HD cameras and lighting. So Jim Cameron and myself crossed paths on “The Abyss.” But my father was making (camera) housings for “The Deep” way back when so I have history in the underwater field. The company was founded to serve that market. Q: How did you make the transition from underwater to 3D? A: Jim Cameron called me up and he invited me on a dive trip. He asked me to bring some HD equipment with to evaluate it for potential use in cinematography in a feature he was thinking about. It was during that time he explained to me that he wanted to do a Holy Grail type camera, one that could shoot 2D well and also be able to acquire a 3D image at the same time. That’s what piqued my interest of going after the challenge of not impacting the 2D production but securing a 3D master as well. Q: So when did you develop the first camera? A: Our first 3D test was about six to eight months later (March 2000). That’s when we saw the first prototype cameras that would allow us to control them in a 3D fashion. We built what it is known as the Fusion system and we did our first test. Q: How did things progress after that? A: Jim’s philosophy was to mimic human vision. It was interesting for me to mimic that with a technology tool. How do we come close to matching what it feels like to see something on a screen that matches what it would be like to be there. For that first test we shot a group of people that were in a lobby as we were putting a live feed to the projector at Jim’s facility. When I went into that room to see the 3D, I put on the glasses and as I was looking at the images of the group of people there I realized I could see the hair standing up on their arms, I could see a little bit of the texture of the goose bumps. It occurred to me that I had been in that room and it was freezing cold because they had turned up all the air conditioners because of the lighting. It was the first time in looking at the screen that I’m realizing that I could actually feel what they were going through being in that situation. It was one of those “aha” moments for me that we were dealing with something very different than just pure theme park 3D. There was no effect there however it conveyed a feeling that those people were experiencing. Q: That first test was in 2000 and here we are almost in 2010, have things progressed like you thought they would? A: No, I thought they would go much faster. In a way I think it needed to do what it did by taking time to develop and mature. I personally wanted it to go faster because there was a business model wrapped around it. It wasn’t an easy one at times. We started with the first period where everybody laughed at us. Why would you want to be experimenting in 3D because their notion of 3D was certainly not what were trying to do. Then there was a period of time when we thought we were sitting on the golden egg. Where definitely the images were making a statement but it also had to follow the business path of how do we get it out there. When we released our first product from the Fusion system (“Ghosts of the Abyss,” 2001) there were 50 theaters. That certainly doesn’t make for a business model. It took awhile to get to this point because this is a business and not just the fact it looks incredible on the screen. Q: There are now thousands of theaters capable of showing 3D films. Has it reached that point where the business model works? A: It has gone beyond that point now for a business. It has impacted corporations in every area to take notice that this is something they need to work on and propel. My business model was I had a director who I worked with on “The Abyss,” who had done “Titanic,” who was interested making a film in the future. I didn’t know when. That was my initial business model. The intent of the business model was saying, ‘Hold on, I don’t want to do this just for Jim Cameron. I have no interest in targeting all my resources for a single director.’ He was in complete agreement that his desire to go down this path was to encourage all filmmakers and not just himself. With that agreement I felt I had the start of a business model. What we didn’t realize was how long it would to take to create all the other layers if you will; how were they going to see it if you can put great images on the screen. Q: You’ve also used the 3D camera for Fox Sports and other sporting events. How did that come about? A: As Jim and I were doing the feature work we realized there was potential in the sports world. We first hooked up with Fox Sports to shoot some material. For them it was a little early in the game when we did that. Their impression was ‘Where are there distribution models for us to get it out there even if we want to do this?’ They were right. We continued down the path of shooting sports for ESPN, for the NBA. Our interest was building a business model. Their (Fox) interest was exploitation of that business model. Until that’s created they didn’t see the necessity to shoot material. But what we did was we ended up doing the (NBA) All Star game, we did ESPN projects. We would just look for opportunities to come to the table and say let’s shoot it and use to move 3D forward. Q: How did PACE get into offering post-production services? A: We entered that going back to the days of “Journey to the Center of the Earth” (2007). We had a great gathering of the minds. We did two days of testing here where they thought 3D was the greatest thing that came off the truck. But then I give them the tape that we shot and wanted to run away as fast as I can because I know the minute they turn to the post-production world it would be a nightmare. The phone would not stop ringing. What they could do here they couldn’t do in the post-production suite. It was a real problem for them. So I decided at the point of “Journey” was to see can we turn some of the company resources toward solving the issues of post-production. We now have four Pablo machines, which are a (digital intermediate) finishing machines. We’ve got three theaters for screening material. We continue to grow in that world. Q: There is a lot riding on “Avatar.” Is this going to be the big breakthrough movie to show that 3D will work in feature films? A: It’s subject to everybody’s opinion. I can tell you having been intimately involved and close to the project I’m shocked at how entertaining it is for me. It was just so real. This is something that you have the right director at the right time with the right methodology. We all have high hopes. Will it be a game changer in 3D? I like to say it’s going to be a game changer in entertainment as we know it. It will take you beyond the confines of what we expect as entertainment. Visual effects did that at one point; color did that at one point. From a personal aspect I enjoyed it tremendously. I continued to be wowed and looking forward to the final in the theater version.