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MONITORING Creating native looks in alien worlds: the making of The Martian Prime Focus World’s Richard Baker explains how Mars was brought into stereo 3D with the help of Fusion Studio for Ridley Scott’s new SciFi survival epic, The Martian Aidan Monaghan with Richard Baker D irected by SciFi master Ridley Scott, this year’s ‘The Martian’ has all the makings of a space exploration epic to remember. The film stars Matt Damon in the role of Mark Watney, an astronaut who is presumed dead after a fierce storm separates him from the rest of his crew during a manned mission to Mars. Stranded and alone, Watney needs to find ways to survive with only meagre supplies, as well as discover how to let people on Earth know that he is still alive. “Our first job on ‘The Martian’ was to stereo convert the trailer, and that really helped us understand what our clients were looking for in the feature work,” begins senior stereo supervisor at Prime Focus World (PFW), Richard Baker. Having already provided the highly praised 3D conversion work for Gravity, the PFW team was certainly no stranger to projects involving science fiction or space. The team needed to convert over 200 shots for ‘The Martian’ into 3D, making sure that the work both emphasized the main character’s loneliness as well as perfectly matching the rest of the film’s stereo, most of which was shot natively on set. 66 | KITPLUS - THE TV-BAY MAGAZINE: ISSUE 107 NOVEMBER 2015 Peter Mountain The main stereo conversion partner on the film was Prime Focus World (PFW), which was called in by 20th Century Fox to deliver 15 minutes of stereo for the movie with the help of its award winning View-D conversion pipeline and Fusion Studio.