Computer Graphics World

n n n n Viewpoint August 2009 plate photography in order to achieve a good, final 3D shot, there are fewer constraints on the filmmaker during the production phase. Additionally, because we were using a virtual stereoscopic camera rig for all the 3D (whether plate photography or CG char- acters), we were able to use the same multi-camera rig techniques (using different stereo parameters on different objects in a shot) refined on past all-CG features. is gave us flexibility that would be impossible with stereoscopic photography. e traditional 2D release of G-Force is formatted for widescreen presentation, but in preparing for the 3D release, we quickly real- ized we could use a simple illusion to help the film feel even deeper t han it really is. e filmmakers and the studio were keenly inter- ested in making G-Force as immersive an experience as possible, while still maintaining a comfort level that would keep people from leaving the theater with headaches. Taking inspiration from an illustration for the 3D effects in the 1953 film Bwana Devil, in which a lion is portrayed as leaping off the screen, I suggested we present the entire film as a fullscreen (1.85:1) image letterboxed to appear as a widescreen film (2.40:1). We would occasionally "break the mask" and allow objects to appear over the top or bot- tom letterbox area, giving a stronger illusion that objects were in the audience space. is effect was used sparingly for the first part of the film, and then used much more frequently during the end battle sequence. is technique has never been employed to this level in a feature film, and it was gratifying that the filmmakers were so enthusiastic about its potential. Stereo's Next Stop As we look to the future, the next step in the evolution of 3D en- tertainment is likely to be its extension into the home. ere are already 3D-capable television sets sold for home use, and enthusiasts have found ways to use these displays with PC-based gaming. is holiday season and the next will see the introduction of more 3D monitors. With the work being done to standardize delivery of con- tent over cable, satellite, and physical media, it won't be long before we see high-quality 3D video games, movies, sporting events, and concerts in the home. Lastly, we will probably see the introduction of 3D home video and still cameras to complete the picture and enable everyone to create 3D at home. Of course, stereoscopic films are best enjoyed on a big screen with a few heads in front of you as a point of reference. As such, the home experience will probably never compare to that of seeing a 3D film in a theater. I am often asked for advice on how to get started with 3D filmmaking. My advice to prospective 3D filmmakers who are un- sure about how to dip their toe in the waters is to dive in. e best way to learn about 3D is to actually make some pictures. Look at them on the small screen and then on the big screen. e same ad- vice applies to almost any creative endeavor. If you are looking for help getting started, look for a studio with an internship program, such as the IPAX program offered by Imageworks. ere is still so much room to innovate in 3D entertainment. I am waiting for a filmmaker to come along who can take this new medium and truly revolutionize it, taking our perceptions of 3D entertainment and turning them on end. If you are reading this, give me a call! n Rob Engle served as 3D visual effects supervisor on G-Force. For feedback on this article, contact him at cgw@rob-engle.com. In G-Force 3D, at times the group would "break the mask" and allow objects to appear outside the letterbox area. ©2009 Disney Enterprises, Inc. and Jerry Bruckheimer, Inc.

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