Issue link: http://digital.copcomm.com/i/110536
CG I /Stereo 3D ��� ��� ��� ��� Double the Trouble Head of layout Yong Duk Jhun moved onto Shrek from Kung Fu Panda, where he had designed the stereo 3D sequence���the leopard Tylon���s Ty escape���that helped persuade CEO Je���rey Katzenberg to create all future animated ���lms in stereo. ���I wasn���t a big fan of 3D a long time ago, but once I started working with stereo for Kung Fu Panda, I became one,��� Jhun says. ���For Shrek 4 , [Forever After], we were in 3D right away, and it Forever After was a lot di���erent. Traditionally in layout, we put in cameras and shoot actors. Now we���ve added another asset: depth. We made 3D a big part of the storytelling.��� Helping Jhun and the artists was a tool developed by Phil ���Captain 3D��� McNally called Happy Ratio, which gave them default settings for camera convergence and interocular distance. While the layout artists worked, they wore the polarized RealD glasses. ���We had a lot of discussion about whether to do a separate 2D version,��� Jhun says. ���We decided to make everything work in 3D, and for the 2D theaters, we would play only the left side of the camera.��� The layout artists started with storyboards���pencil drawings in 2D from the story department that set the pace and the character���s emotional journey. ���We make the timing work in a real 3D space using real 3D assets,��� Jhun explains. ���For example, a storyboard character might walk from A to B in a few steps, but when we bring the character into the 3D set, the distance is farther so the character takes longer to walk.��� The layout artists also helped de���ne the space by adding assets that transformed a simple 2D drawing that used layers of images into a more complex and deep stereo 3D scene. ���In [stereo] 3D, if the set is too simple, the scene seems empty,��� Jhun says. ���So we���re forced to put more May 2010 9