![]() “I did a recent commercial for Samsung where I was compositing CGI butterflies onto a real-world background. It is both in front of and behind the background object at the same time, and the human reaction against this is powerful. The brain is being given two conflicting ideas about where the title is. ![]() This is a great example to show how instantly a viewer can be given a big headache. A classic one is to place a title on the screen, which is optically in front of an object (we can’t see the object where the title is over it), but stereoscopically behind it - i.e., the title is further away from the viewer than the object it is covering. The thing with 3D compositing is that we can accidentally mix these up and that causes a nasty headache. The brain adds up all these ‘depth cues’ to decide where objects really are. Holding our hand out at arm’s length proves that our hand is closer than the rest of the world because we can’t see the world through our hand. “For example, those horses in the distance aren’t miniature horses -they are just further away. But it’s not the only method it uses - there are quite a few. One if these is ‘stereopsis,’ which is where the brain takes the two 2D images from our eyes and draws some understanding of distance from them. Although we know that the world is 3D in reality, in fact our perception of it is the result of a number of mental processes. Post: How different is compositing in 3D stereo than compositing in 2D? What are those differences and can you point to a recent stereo project as an example?ĭAVID COX: “The addition of the ‘3rd dimension’ is a surprisingly powerful issue that needs to be understood so good composites can be made without giving people headaches. Things that weren’t an issue before need to be addressed in order to make sure the audience is literally comfortable with their viewing experience.īelow, a handful of compositors who have worked on recent 3D stereo projects share their wisdom. You might be experienced in compositing in 2D, but that doesn’t mean the transition to 3D stereo will be seamless. Even if job titles aren’t changing, the intricacies of the jobs are. Paul Lambert - Compositing Supervisor - Digital Domain - (- Venice, CAĪs the trend toward 3D stereoscopic projects continues to grow, so does the need for information about working in this new world. Westley Sarokin - Co-Head of 2D - The Mill - (- New York Jon Alexander - Compositing Supervisor - ILM - (- San Francisco Tim Crean - Creative Director - Suspect - (- New York IMAGE: ILM’s Jon Alexander on Avatar: “Even in the best-case scenario, there were numerous technical fixes that needed to happen to the original left and right eye views to make them acceptable to composite into.”ĭavid Cox - VFX Artist/Colorist/Stereoscopic Consultant - (- London
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