(piano tones)

[Narrator] What if there was a place,

a secret place,

where nothing was impossible.

No way.

[Narrator] Miraculous place, where you could

actually change the world.

Hi I'm Mike Seymour from Fxguide.com for Wired.

Brad Bird, the director of The Incredibles

and Mission: Impossible -Ghost Protocol

returns with his view of the future in Tomorrowland.

And, as the name suggests, we visit a future world

and to convey the wonder, aura, and spectacle of its

optimistic future, Bird takes us on a six-minute long

continuous shot, revealing Tomorrowland,

via a curious magical pen.

Bringing that world to life and realizing his vision

was up to Industrial Light & Magic in San Francisco.

In the end we splitted it out into about,

seven or eight shots.

Each of those shots had about three or four plates

and everything was, kind of, timed together

so we go from this continuous flow through Tomorrowland

where we start from the beginning of the city,

we get into a monorail, and end up in the space port

where our hero is just about to board a spaceship.

Eventually the pen runs out of time.

The sequence took almost ten months to stitch

and composite together with twelve artists working at

various levels due to the complexity of aligning

all the various plates.

Some shot in Spain, some in Vancouver,

all without motion control and all needing to be integrated

with the magical world and futuristic tech

that ILM could come up with.

If you get a chance, see the film in Dolby Vision.

This is the first film to be released in the new format

and as such, Tomorrowland has a wider dynamic range.

For example, when the gateway opens to the beach,

the film holds and balances the vastly different exposures

between the interior of Tomorrowland and the

bright daylight of the tropical beach.

ILM was the first studio to have to deal with Dolby Vision

which provides more than just increased contrast range.

I can see this technology changing the way

compositing will be done in the next year, you know,

'cause we're gonna have to first have maybe monitors

that can display those values we have now

of 4K, HDR, material to view.

The thing about the Dolby Vision is that,

by the extra contrast it provides,

gives this kind of extra sharpness.

And looking forward we will have even more

from ILM as we hit summer blockbuster season

so don't forget, subscribe, for more

behind-the-scenes action.

I'm Mike Seymour for Wired.

(magestic, high energy music)

(rocket blast)