Before the micro-media wonders of the iPhone and the iPod became commonplace, a cinematic behemoth reigned supreme in the world of entertainment with a capital I. Since 1970, IMAX, (short for Image Maximum) cinema, has allowed for a higher resolution picture at a greater size than though conventional film mediums. Today, the IMAX format is being combined with 3D CG animation and 3-D projection technology to literally reach new audiences around the globe and add an extra dimension to the craft.
3-D stereoscopic filmmaking has been around since 1922, but over the years became relegated to “gimmick” status. Filming in 3-D is a difficult task, especially while using the IMAX format, where a single IMAX 3D camera weighs over 250 lbs. This is not a problem with CG animation, where everything exists as data, and one can render out vibrant and fluid 2D and 3-D films with ease. To quote Robert Zemeckis on The Polar Express, "… all you had to do was flip a switch.”
The Polar Express was the first 3D animated film to be simultaneously released in IMAX 3D and standard format. The IMAX 3D version was an astounding success, outperforming its 2D sibling nearly fourteen to one. Since then, most major animated productions have been given the stereoscopic IMAX treatment. Starting with Chicken Little, Disney has begun releasing their films through a similar process, called Disney Digital 3D, based upon the “Real D” single-projector technology. Even live-action films, like Superman Returns and Harry Potter and the Order of the Phoenix, are being released in IMAX 3D.
Is creating an animated 3-D experience really as simple as “flipping a switch?” Surely, thanks to the very nature of 3D computer animation, it is easier than ever to create a serviceable and fun film with “depth.” However, whether converting 2D films, or creating movies specifically for 3-D, there are a lot of unique concepts to keep in mind. Animation Mentor alum Chris Ilvento, who worked on Sea Monsters: A Prehistoric Adventure, points out that “you can’t cheat the animation to the camera. Everything has to work within the 3-D space, otherwise it just won't look right.”
Framing with the added z-axis is different from the typical methods. For instance, in 2D, over the shoulder shots are considered a classic technique of framing a pair of speakers. In 3-D, the effect is less than optimal, as anything in the foreground cut off by the edges of the screen makes for retinal rivalry, creating issues with perspective and irritating the viewer’s eyes. Also, camera moves should be generally slower in 3-D films. The eyes take longer to adjust to a 3-D view, and quick moments can create outright discomfort for the viewer. Lighting is also a very different ballgame. Flat lighting with brighter hues is often necessary to give 3-D animation a visual pop. If you are working in IMAX 3D, it has also got to be moderately brief. IMAX projection platters can only accommodate 150 minutes of film
When working in the third dimension, one key goal is to pace the project’s more vibrant 3-D visuals. Just as we become accustomed to background noises or lingering smells, the brain eventually comes to ignore the 3-D experience itself. The trick is to pace things so that you have an invigorating mix of shallow and deep shots, with the occasional protruding “effects” shots to rouse the audience, and maintain their focus. At the same time, you don’t want to jam every frame full of cheap gimmicks. To quote Lenny Lipton of Real-D, "If you try to stick things out of the screen at every opportunity, it’s like asking a musician to always play loud.”
A final consideration in producing a 3-D film, like so many other things, is money. Producing pictures for 3-D adds an extra cost to a film’s budget, while limiting the number of theaters equipped to display the work. Scheduled for launch in March of 2009, Monster Vs. Aliens will be the first DreamWorks animated film to be especially produced for 3-D. This decision expanded the picture’s budget by 15 million dollars; through only a projected 2,500 screens nation-wide will be equipped to run the movie in its ideal format.
There are no schools devoted to animating in stereoscopic 3-D. In many ways, it is both a cutting-edge field and a vintage art form, and yet, as Ilvento muses, “assuming that the story is strong and the intention is right, shooting a film in 3-D can dramatically enhance the audience participation and reinforce the suspension of disbelief. On January 30, 2008, Fly Me to the Moon became the first animated film created exclusively for IMAX 3D. As the craft matures, the moon will be but one small step in a much larger journey.
For more information and discussion on Stereoscopic 3-D, visit: http://the3drevolution.blogspot.com
About Mark Garabedian
Mark Garabedian is a freelance animation writer and all-around cartoon connoisseur. He also works as a video game designer at Bionic Games under the more aerodynamic moniker, Mark Stuart.