Can you talk about working with a filmmaker as creative as Robert Zemeckis?
Bredow: It’s interesting to get to work with somebody who’s obviously experimental and innovative in filmmaking. Basically, when you get to work with someone like Robert Zemeckis, his focus is to be able to tell stories with whatever means are available to him. When he sees an actor like Tom Hanks, and wants him to play a six year-old kid, you start to realize the extremes that he’s interested in going, to be able to tell his stories, which makes it a lot of fun. That starts with things like acting and characters and who’s playing his main characters, and goes all the way to technical innovations in terms of how to make the audience experience his movie firsthand in 3D. That was my experience on “The Polar Express”. Are there any striking differences between the pipelines created at Imageworks to process IMAX and Real-D? Engle: The primary difference between the Real-D and IMAX pipelines are in the ways the cameras are created. With a Real-D presentation you need to be more aware of ho
