Computer Graphics World

May 2011

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Editor’sNote Keeping Stereo 3D on Its Evolutionary Track W hile “mobile” was the new buzzword at NAB last month, this grow- ing medium by no means loosened the grip that stereo 3D has on the industry. Presently, there are still those who question whether stereo 3D is a fad that will soon wane. Indeed, there are many who find the added cost of a ticket to a stereo 3D movie too steep. Truth be told, this seems to be more of an issue for bad stereo films than those that do a great job of integrating the technology into the story line. In 2010, we saw the good (Alice in Wonderland, How to Train Your Dragon) and the bad (Clash of the Titans) in terms of 3D movies. When stereo is done well, it is exceptional. So, what is the key to making a great stereo 3D film? Back in 2007, DreamWorks Animation gave the industry a new perspective on the medium when the facility announced its inten- tion to produce all of its films in stereoscopic 3D starting in 2009. (Remember, in 2007, there was not much in the way of stereo 3D films.) The studio already knew that to get the most out of the me- dium, the stereo would become part of the creative process from the start of the project, as opposed to a post-process afterthought. The studio’s first film to use this new workflow was 2009’s Monsters vs. Aliens—a monster hit, if you will. Since then, DreamWorks has rolled out a string of stereo hits (How to Train Your Dragon, Shrek Forever After, and Megamind). Most likely Kung Fu Panda 2 (see “Kicking Back,” pg. 8), released this month, followed by Puss in Boots later in the year, will find similar success. Leading DreamWorks on this endeavor is 3D animation guru Phil McNally, known throughout the industry by the moniker “Captain 3D,” and deservedly so. McNally was an early 3D convert, having been the stereo supervisor on Disney’s Chicken Little and Meet the Robinsons prior to landing at DreamWorks. Here, McNally pro- vides some perspective on this trend. Do you feel that people are still embracing stereo 3D as much as they did a year ago? At DreamWorks Animation, 3D is a part of our pipeline. We don’t question 3D’s validity. We use it to enhance the stories we want to tell. Our techniques are fine-tuned and at our command. I sense many filmmakers who are new to 3D may find it a scary prospect. If I had to guess audiences’ opinions, I would say they really enjoy 3D, when it is treated with skill and creativity. What hurdles still remain when it comes to audience appreciation of stereo 3D? The hurdle is with the filmmakers to create the content. Does stereo 3D lend itself better to a live-action film or a CG film, or is there no difference? It’s currently easier to control in CG and, therefore, a better result can be achieved technically, but live action has the real world to capture, and that is a big advantage compared to creating everything from scratch in our world. Ultimately, I would say the real-world complexity is a great thing for 3D, but so far, few live-action movies have captured the spatial beauty seen in some of the jungle scenes of Avatar. They were real, weren’t they? You have to remem- continued on page 28 2 May 2011 is published by Computer Graphics World, a COP Communications company. does not verify any claims or other information appearing in any of the advertisements contained in the publication, and cannot take any responsibility for any losses or other damages incurred by readers in reliance on such content. cannot be held responsible for the safekeeping or return of unsolicited articles, manuscripts, photographs, illustrations or other materials.Address all subscription correspondence to: Computer Graphics World, 620 West Elk Ave, Glendale, CA 91204. Subscriptions are available free to qualified individuals within the United States. 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