90 Percent Of World's Screens Are Digital - 3D Continues To Dominate Screen Conversions

90 percent of all the world's screens are now digital and marks an obvious important milestone in deployment. Not long ago film dominated the market. How things change.

Furthermore, 73 percent of all screens being converted to digital in 2014 was 3D says IHS Cinema Intelligence of London. That is a hugely significant number because 3D remains extremely significant in overseas markets, especially the soon to be largest market of all - China.

Many fail to realize that the North American market is not the dominate player it used to be. In fact more and more decisions about what gets made and for how much is being made overseas. 3D remains an important component of overseas and especially Asian markets and I am thrilled that the format has been so overwhelmingly received and nurtured there.

The countries topping the list of 3D screens installed were China, USA, Mexico, Russia and Brazil.

Source: IHS Cinema Intelligence via Variety

THE HOBBIT: THE BATTLE OF THE FIVE ARMIES Eying $1 Billion - Opens To $50m In China!

THE HOBBIT: THE BATTLE OF THE FIVE ARMIES has opened to $49.5m in China which is just about as much as the first Hobbit movie made during it's entire run in the country! Goes to show the recognition that the movie brings now to the Chinese as well as the further development of the theater industry there - especially 3D. With FIVE ARMIES being made in native 3D with world leading 3ality Technica rigs, these box office results underscore what great movie making can achieve.

Peter Jackson's finale to the Hobbit trilogy has raked in $866 million worldwide as of now and as China is it's last major market the echos of the release may be enough to push it to the magic billion dollar mark despite being obviously snubbed by the Academy for Oscars this year. The movie only managed to be nominated for Sound Editing. How it is not at least nominated for Visual Effects is beyond me.

Will THE BATTLE OF THE FIVE ARMIES hit $1 billion? Will we ever return to Middle-earth again any time soon? I'd dearly love to see some spin offs from these movies - character origins stories, adventures and the like. I doubt the Tolkien estate would allow it, but there would definitely be a huge market for it. Even a bridge movie bringing Legolas together with Strider as described at the end of the movie would be huge.

Can't wait to get the extended trilogy versions on Blu-ray! All the behind the scenes action is what I really enjoy in these boxed sets. Stay tuned for further box office updates!

International 3D And Advanced Imaging Society Announces Nominees For 3D Awards

Here's this year's nominations for awards from our friends over at the International 3D and Advanced Imaging Society. There is some amazing productions here - I personally loved DAWN OF THE PLANET OF THE APES, THE HOBBIT: THE BATTLE OF THE FIVE ARMIES and X-MEN: DAYS OF FUTURE PAST. 2014 was a great year for 3D! Very excited to see Jean-Pierre Jeunet being honored here - his THE YOUNG AND PRODIGIOUS T.S. SPIVET looks amazing.

Here's the press release:

The International 3D and Advanced Imaging Society has announced its top nominated 3D features - Live Action and Animation, as well as the 2D to 3D Conversion categories were voted on by the International 3D Society's members for the 2015 Creative Arts Awards Ceremony to be held January 28th at Warner Bros. Studios.

The top live action nominees include “Captain America: The Winter Soldier” (Marvel/Disney), “Dawn of the Planet of the Apes” (20th Century Fox), “Exodus: Gods and Kings” (20th Century Fox), “Guardians of the Galaxy (Marvel/Disney), “Maleficent,” (The Walt Disney Studios), “Noah” (Fox/Paramount), “Teenage Mutant Ninja Turtles” (Paramount Pictures), “The Amazing Spider-Man 2 (Sony Pictures Entertainment), “The Hobbit: The Battle of Five Armies,” (Warner Bros./New Line), “Transformers: Age of Extinction (Paramount Pictures), and “X-Men: Days of Future Past,” (20th Century Fox).

In the animation category, the top nominees include “Big Hero 6” (The Walt Disney Studios), “How to Train Your Dragon 2” (DreamWorks Animation, “Mr. Peabody & Sherman” (DreamWorks Animation), “Rio 2” (20th Century Fox Animation), “The Book of Life” (20th Century Fox Animation), “The Boxtrolls” (Laika), “The Lego Movie” (Warner Bros.), “Planes: Fire & Rescue” (Pixar/Disney) and “Penguins of Madagascar”), Fox/DreamWorks Animation)

The nominees for 2D to 3D Conversion include ”300 Rise of an Empire” (Warner Bros.), “Captain America The Winter Soldier” (Marvel/Disney), “Dawn of the Planet of the Apes” (20th Century Fox), “Godzilla” (Warner Bros.), “Guardians of the Galaxy (Marvel/Disney),”Maleficent” (The Walt Disney Studios), “Noah” (Fox/Paramount), “Teenage Mutant Ninja Turtles” (Paramount Pictures), and “The Amazing Spider-Man 2” (Sony Pictures Entertainment).

“Many of the leading blockbusters of 2014, were some of the highest grossing 3D films in history, and we are thrilled that this genre of filmmaking has a significant role in film quality and innovation,” said Buzz Hays of the True Image Company and Society Awards Chairman. “These films are visually stunning to watch and are continuously evolving.”

The Society will present its gold Lumiere™ statuettes to winners in 20 categories selected by ballot from 460 of the Society’s professional voting members.

Sky, Atlantic Productions and David Attenborough will receive the Society’s Sir Charles Wheatstone Award for creative excellence in 3D story telling.

Since launching in October 2010, Sky 3D has broken new ground across a range of genres including live music, the arts, sports, movies and natural history, including six landmark projects from Sir David Attenborough with a seventh, Conquest of the Skies, due to premiere on the service this Christmas. Produced by Colossus Productions, a joint venture company formed by Sky and Atlantic Productions, Attenborough’s Sky 3D documentaries have delighted critics and audiences alike, and delivered multiple award wins.

Sir Charles Wheatstone is credited by history as the inventor of modern-day 3D. The Society’s Wheatstone Award has previously been presented to Pixar, DreamWorks Animation, Sony Pictures Entertainment, and Panasonic Hollywood Labs.

The Society’s annual Harold Lloyd Award will be presented to Academy Award Nominee and French Director Jean-Pierre Jeunet. 
Jeunet's latest work 'The Young and Prodigious T.S. Spivet,' starring Helena Bonham Carter, Judy Davis, and Kyle Catlett, was produced in 3D and shot at various locations in Canada and Washington D.C. The film has been released in Europe and the Weinstein Company has acquired North American theatrical release rights.

"Jean-Pierre Jeunet has thrilled us with movies including 'Amélie,' 'The City of Lost Children,' 'Delicatessen,' 'A Very Long Engagement,' and countless others," said Society Awards Chairman Buzz Hays of the True Image Company. "With 'T.S. Spivet,' he has graced us with an extraordinary work of 3D artistry," Hays added.

Harold Lloyd was a keen observer and was deeply influenced by the French filmmakers of his era," stated Suzanne Lloyd, Chairman of Harold Lloyd Entertainment. "As we celebrate the 100th anniversary of Harold first stepping in front of the camera, I know he would be thrilled that this award, bearing his name, be presented to an artist of Mr. Jeunet's passion and achievement," added Lloyd.

Confirmed guests to attend thus far include, Sky Productions Head of Non-Scripted, Celia Taylor, Anthony Geffen, President and CEO of Atlantic Productions, Chris deFaria; President, Animation, Digital Production and Visual Effects, Warner Bros. Pictures, and Marvel Studios, James Gunn, Director, "Guardians of the Galaxy.”


More than 150 entries were judged by the Society’s voters for this year’s honors. Submissions were received from all around the world, including: the U.S., China, Japan, Korea, the U.K., Canada, Germany, France, Belgium, Italy, and Taiwan.

About The International 3D And Advanced Imaging Society:
The International 3D And Advanced Imaging Society is a community of content creators and professionals whose mission is to develop the arts and technologies of 3D, advanced imaging and its innovators, as well as educate its members and their consumers. With over 60 companies and 1,800 professional members in 20 countries, the Society is open to individuals and organizations active in moving 3D and advanced imaging to an exciting new era of creative achievement and consumer support. For more information please visit: www.International3DSociety.com.

More on the awards as they happen! Stay tuned. Good luck to all!
 

Movie Review - THE HOBBIT: THE BATTLE OF THE FIVE ARMIES - 9.1 Stars!

Peter Jackson has done it again. He has nailed the genre and no one is better on the face of the earth in bringing such to the big screen. Furthermore Jackson is spearheading the future of cinema with his outstanding use of stereoscopic native 3D (using rigs from 3ality Technica) and High Frame Rates (48 fps).

That said, one really does have to watch all three Hobbit movies one after the other to get a sense of story and character development and so as a standalone movie I have to score those aspects much lower than I would if all three movies were one. I would wager most movie goers will have seen the previous two Hobbit movies however and the best way to see the whole story is to watch them all back to back to back.

I won't spoil the movie for those of you who haven't seen it as of yet. I will tell it is more of what you have come to expect from Peter Jackson and company. Thrilling adventure, magnificent characters and epic battles. Everything is as it should be from Howard Shore's magnificent score to the visuals to the acting performances.

I'll briefly diverge here for a moment. The sole operator of movie theaters in my area, Cineplex, has decided to not distribute THE HOBBIT: THE BATTLE OF THE FIVE ARMIES in HFR in my area - perhaps all of Canada - I'm checking into this. I am extremely disappointed in this decision. They have no competition here and so I have no way of checking out the HFR version of the movie. So I apologize to you that I can't comment on the HFR . I will say that judging from previous movies I have seen I believe variable frame rate will be the way of the future in that portions of movies will be shown in HFR while the remainder will toggle back to 24 fps. This way the effect will not be jarring and HFR will only be used for moments that truly will shine with the technology - such as slow motion.

So what did I love about the movie? Certainly I will elaborate in detail in the comment section below where spoilers are encouraged, but to be honest, I loved the whole thing. I have some questions that I'd like your opinions on (again in the comments) but overall I have seen the movie twice now, one in IMAX 3D and the other in AVX (7.1) 3D and it just keeps getting better.

Some scenes are literally crying out for more - or origin stories - or just singular character stories; essentially I want Jackson to continue to make Middle-earth stories, but with his own original ideas within the world. Again I can't say more here, but I will below.

So the native 3D was outstanding! A perfect blend of function (immersion and excitement) with the practical (forgetting the 3D was even there). In other words, this 3D that was shot on the world's leading native 3D rigs from 3ality Technica was perfectly executed. I saw no flaws to speak of at all. Battle scenes were amazing. Sweeping shots of cities and towns along with the jaw dropping vistas of New Zealand's 3D Middle-earth were inspired and delectable. Intimate character shots were oh so real in native 3D!

The visual effects of the movie were definitely in the genre wheelhouse of Weta Digital and they brought them to us with unreal precision. Suspension of disbelief came easy for me when the extremes were handled with care - from decisive serious scenes to comedic scenes didn't make me think at all about how it was done, but simply to live it.

70% of the initial world box office was generated from 3D ticket sales for the movie, underscoring that 3D is now part of our culture. Can't wait to see what 2015's 3D movies have in store for us!

Sadly, this will be the last trip to Tolkien's world - unless we are very lucky. But it was as if Peter Jackson himself said: "If this is to be our end, then I would have them make such an end, as to be worthy of remembrance."

If you have seen the movie already, then I invite you to read the comments below and join in on the conversation! And if you haven't seen the movie yet... WHAT? What are you waiting for? :-) Christmas? 'Cause you know, Christmas is here...

THE HOBBIT: THE BATTLE OF THE FIVE ARMIES is now playing in 3D, IMAX 3D, HFR 3D and flat.

World's First 4D Film Festival Kicks Off This Weekend

3D FILM FESTIVAL AND LEADING TECHNOLOGY PURVEYORS TO DEBUT TWO NEW GROUNDBREAKING EVENTS AT 7th ANNUAL PROGRAM INCLUDING WORLD’S FIRST 4D FILM FESTIVAL AND NEW VR FEST LINEUP

HOSTED BY:
Regal Cinemas L.A. LIVE and The Hotel Figueroa
DECEMBER 6TH, 2014

3DFF, the worlds first and largest all digital 3D Film Festival presented by 3opolis and RealD will hold its 7th annual event on Saturday, December 6th, 2014 at Regal Cinemas L.A LIVE and The Hotel Figueroa in Downtown Los Angeles between the hours of 10am to 2am. The newly revamped and more immersive festival will feature the advent of two new cutting edge technology programs including a first-of-its-kind 4D Film Festival line up including Dreamworks Animation S.K.G’s 20th Century Fox release of “Penguins of Madagascar in 4D” and Lionsgate’s “The Hunger Games Mockingjay Part 1 in 4D”. Both films will be screened in Regal Cinemas new 4DX enabled movie theater, the first in the United States to feature 4D technology pioneered by CJ 4D Plex.

In addition to its 3D and 4D screenings, parties and panels, 3DFF will also launch a new Virtual Reality Festival initiative that will feature a variety of VR technology displays and content demonstrations provided by leading purveyors. 3DFF Pioneer Award winners Havas Worldwide and Dos Equis will showcase their award winning “Dos Equis Masquerade”, a revolutionary new VR Ad campaign for the Oculus Rift featuring The Most Interesting Man in the World, who stars in this first-ever live action 3D cinematic virtual reality film directed by Jordan Fish and Patrick Sherman in partnership with Montreal based filmmakers Felix & Paul. Note: This exhibit will also be shown at the official 3DFF Costume Masquerade Ball and After Party.

Additional award winning VR displays will be provided including: “11:57” (the first interactive short horror film for VR) presented by Sid Lee with VR technology by Wemersive. This groundbreaking short film will be presented in 3DFF’s very first VR Fright Room, which will demonstrate a fully immersive VR experience for a limited amount of attendees presented by ImmersiON-VRelia on their smartphone powered VR HMD “the GO”. Also, “Collider” presented by Edward Lee (an interactive audiovisual VR experience with motion controls), WemoLab (VR content and software creators); Otherworld Interactive (A VR Content Studio that will be showing off their Mobile and Oculus Experiences); “Freevi” featuring the Flight Deck 3D Android Tablet; Specular Theory (VR content creators) plus other great exhibits.

This special edition one-day 3D Film Festival will open on Saturday December 6th at 10:00am with three back-to-back 4D feature film screenings presented in 4DX followed by a panel discussion entitled “The Evolution of Cinema Panel featuring 3D, 4D and Virtual Reality”, which will take place from 5:00pm to 6:30pm featuring top speakers from the 3D, 4D and Virtual Reality Industries. Moderated by 3DFF Founder Christopher Crescitelli and Head of Post Production Jonathan Shaw this expansive panel will include 3DFF Pioneer Award Winners: Jim Hord (Executive Creative Director for Havas Worldwide/Dos Equis Masquerade); Blair Erickson (Jamwix Founder/ Director of Banshee Chapter 1st VR Feature Film); Theodore Kim (CJ 4D Plex/4DX); Catherine Yi (CJ 4D Plex/4DX ); (Aaron Latham-James (Tech Producer, Stereographer/Guns and Roses Appetite for Democracy 3D); Eric Deren (Creative Director/3DM Music Festival); Ethan Schur (ImmersiON-VRelia) and Stuart Warren Hill (3D Content Creator/Inventor of Holo-gauze).

Also at 5:00pm in theater number five the 3ology Shorts program will be serving up a selection of the best 3D short films, music videos, and experimental content from around the world all presented in RealD 3D. 3DFF is proud to host the big screen debut of NASA’s two amazing 3D short films entitled “International Space Station Tour” and “Astronauts Grow a Water Bubble in Space”. Other world premieres include: from Italy, “Vice Versa 3D”, a 3D short documentary presented by 3DFF alumni Francesco Rotunno and Alessandra Vinotto also “The Whitewashing of 5 Points” directed by Ben Schwartz of Queens, NY; “Carta de la Muerte a Frida” directed by Ana Leticia Reyes & Diego Sandoval of Mexico; “Situation Vacant” directed by Andrew Murchie from the U.K.; “Holotronica” directed by Stuart Warren Hill from the U.K.; “Sunday Morning Drive” directed by Ole Schell of USA; “The Silver Ghosts” directed by 3DFF alumni Caroline Orme from the U.K.; “Airground” directed by Sylvia Nicolaides from Cyprus); “Lost in Reverei” directed by Tom Gifford from USA; “Love Lift Me” directed by Hanspeter Aliesh of Switzerland. “The Art of Diving” directed by Helmut GoerZitz of Germany; among other amazing short films.

Later in the evening at 8:00pm, the festival will world premiere its official Best 3D Documentary Award Winner entitled “Cosplay Dreams 3D” directed by Gulliver Parascandolo. The highly anticipated part live action/part CGI film is the first to tell the story behind the magical world of Cosplay. "As filmmakers, we were immediately captivated by the idea of Cosplay even through we had no idea how popular it was when we started", commented the film's Director Gulliver Parascandolo, "We decided to shoot this film in 3D from the project's inception because the colors, craftsmanship, and art form really immerses you into the fun of Cosplay. Each Cosplayer featured in the film is like a living walking sculpture. Many people are empowered to be, finally, who they WANT to be...though this hobby. That's a very powerful and positive thing. There was no better medium than 3D to bring this world-wide phenomenon to life.”

At 10:00pm 3DFF After Dark will world premiere “Hackin’ Jack vs. The Chainsaw Chick”. This comedic horror film by veteran horror film director Norm de Plume is sure to entertain in Splatter Rama 3D and Thunder Rama Sound. Must be 18 years old to enter.

Directly following a full day of screenings, panels and technology displays, the festival will debut its first all-ages “Cosplay Dreams 3D Costume Masquerade Ball and After Party” which will take place from 9:30pm to 2:00am inside the Hotel Figueroa located across the street from Regal Cinemas. The premiere screening and after party for Cosplay Dreams 3D will be attended by cosplay superstars including YouTube sensation Traci Hines who will appear along with veteran actress Tracy Reiner (League of Their Own/ Apollo 13) who will open the show as Celebrity Host for the evening. Additionally, hundreds of Cosplayers from the Southern California Comic Con Community will be on display at the event in full costume regalia.

Event Information:
The 7th Annual 3D Film Festival will take place on Saturday, December 6th, 2014 at Regal Cinemas L.A. Live and the Hotel Figueroa from 10am to 2am. Please note that all 4D screenings will take place in theater number 6. All 3D screenings will take place in theater 5. All Virtual Reality Lounge demos will be on display in Gala A and B Event Rooms just down the hall from theater 5, with additional activations located on the Mezzanine Level of the theater. The Costume Masquerade Ball and After Party will be located at the Hotel Fig located a short walk down Olympic at the corner of Figueroa.

Tickets and Information:
For tickets please visit http://www.partyearth.com/3dff and for a complete program of events please visit http://www.3DFF.org

Seating:
All seats are filled by 3DFF Badge Holders on a first come first serve basis. If you are a badge holder and wish to RSVP in advance for a particular movie on the day of the event, you can do so by visiting the check in table located in the main lobby of the theater.

Event Location #1:
Regal Cinemas L.A. Live: 1000 W Olympic Blvd, Los Angeles CA 90015. Festival Hours of Operation are from 10:00am to 12:00am at this location.


Event Location #2:
The Hotel Figueroa: 939 S. Figueroa Street #930, Los Angeles CA 90015. Festival After Party Hours of Operation are from 9:30pm to 2:00am at this location.

Parking:
Regal Cinemas will validate 4 hours for $6.00 in any L.A. LIVE Parking Structure. Please bring your parking ticket with you to the theater for validation stamp. Additional parking located just outside L.A. LIVE. Save time and money by taking the Metro and only walk a few short blocks to L.A. LIVE.

Congratulations Chris on the continued success of the festivals! Hope you all can make it.

First Clip From THE HOBBIT: THE BATTLE OF THE FIVE ARMIES!

Check the first clip from THE HOBBIT: THE BATTLE OF THE FIVE ARMIES and Bilbo's bravery in spite of Gandalf's opinion of the situation.

The falling snow in this particular scene is going to add a enchanting piece of realism and immersion in native 3D! Stereographer Sean Kelly (my exclusive interview with him here) and his team using 3ality Technica native 3D rigs and RED Epic cameras are going to nail this movie, I can feel it. Add in the CG snow for optimal immersion and we have a perfect balance for this shot. Can't wait to see in three dimensions!

Here's the storyline for the movie:
From Academy Award®-winning filmmaker Peter Jackson comes THE HOBBIT: THE BATTLE OF THE FIVE ARMIES, the third in a trilogy of films adapting the enduringly popular masterpiece The Hobbit, by J.R.R. Tolkien.

THE HOBBIT: THE BATTLE OF THE FIVE ARMIES brings to an epic conclusion the adventures of Bilbo Baggins, Thorin Oakenshield and the Company of Dwarves. Having reclaimed their homeland from the Dragon Smaug, the Company has unwittingly unleashed a deadly force into the world. Enraged, Smaug rains his fiery wrath down upon the defenseless men, women and children of Lake-town.

Obsessed above all else with his reclaimed treasure, Thorin sacrifices friendship and honor to hoard it as Bilbo’s frantic attempts to make him see reason drive the Hobbit towards a desperate and dangerous choice. But there are even greater dangers ahead. Unseen by any but the Wizard Gandalf, the great enemy Sauron has sent forth legions of Orcs in a stealth attack upon the Lonely Mountain. As darkness converges on their escalating conflict, the races of Dwarves, Elves and Men must decide – unite or be destroyed. Bilbo finds himself fighting for his life and the lives of his friends in the epic Battle of the Five Armies, as the future of Middle-earth hangs in the balance.

THE HOBBIT: THE BATTLE OF THE FIVE ARMIES opens on December 17, a mere 2 weeks from now! See it in 3D, HFR 3D and IMAX 3D.

**WARNING: Obvious spoilers in this clip as it is from the actual upcoming movie! Fair warning.

THE HOBBIT: THE BATTLE OF THE FIVE ARMIES Theatrical Trailer is Here!

Tim here, The Hobbit: The Battle of the Five Armies Theatrical Trailer is finally here! YAY! I've put it above so you can watch it front and center. It's so dark and so intense. This isn't the children's story the book was originally anymore. This film will definitely lead into The Lord of the Rings trilogy. The emotional stakes are high.

My first thoughts are: WOW! Peter Jackson will make his last journey into Middle-Earth an epic one. And it's going to look so good in Native Stereoscopic 3D and High Frame Rates shot on 3ality Technica rigs. About one month to go until this movie is unleashed upon the world, and the anticipation is so great. This trailer gives us only glimpses of what to expect. I plan on being thoroughly surprised by his vision.

The release of The Hobbit: The Battle of the Five Armies arrives in theaters December 17^th, 2014 in IMAX 3D, RealD 3D, HFR 3D.

Tomorrow the Final HOBBIT Trailer Arrives!

Post by The Hobbit.

Tim here. As you can see from The Hobbit's Facebook post tomorrow the final dragon... I mean trailer... will descend upon Laketown... I mean us. Man, I really want to see this movie. Look out for our post tomorrow as soon as it arrives.

The release of The Hobbit: The Battle of the Five Armies arrives in theaters December 17^th, 2014 in IMAX 3D, RealD 3D, HFR 3D.

Fall Stereographer Interview Series - STALINGRAD's Céline Tricart

Our Fall Stereographer Series continues and has a great list of the world's best stereographers and technicians. Our goal is to enlighten you about the modern stereographer, his/her role in major tentpole productions, new technology and expert advice for the up and coming new generation of 3D creators. Be sure to check out all our interviews right here.

Next up is a fast-rising, behind the camera star in the 3D world, Céline Tricart. She's multi-talented as she is also a writer, director and producer - but I want to focus on her 3D passion. She is an independent filmmaker and was stereographer on Gordon Chan's THE FOUR 2 (2013), DERRIERE LES MURS (French supernatural thriller) and the short film OUTSIPLOU. Further testifying to her talents is the trust that large budget productions place on her as well - she was 3D Rig Technician for both Fedor Bondarchuk's STALINGRAD and Michael Bay's TRANSFORMERS: AGE OF EXTINCTION.

She has already directed several shorts, three of which were shot in 3D, and received many awards around the world. Since 2008 when she graduated from the famous ENS Louis Lumiere film school in Paris, she was the stereographer of more than 20 live broadcast, commercials and documentaries, and of the first French 3D feature film BEHIND THE WALLS from directors J. Lacombe and P. Sid (Sombrero Productions- 2010). She has worked with the R and D department of the french company Binocle (3D rigs and softwares) during 4 years as lead stereographer. Further, Céline has published a book about 3D storytelling in early 2013 which is available worldwide. She works now closely with the award-winning company 3ALITY Technica on numerous projects.

Celine is now developing her first feature film with award winning producer, Roger Frappier (“Jesus of Montreal”, “The Decline of the American Empire”, “The Grand Seduction”) and his Canadian production company, MAX FILMS. This film will of course be shot in 3D! Celine is also looking into TV as a fascinating new medium to tell her compelling stories. Her new book “Directing 3D: Concepts and Techniques for Stereoscopic Filmmakers” will be published by Focal Press in 2015 worldwide.

I think Céline represents one of the best of the best for up and coming stereographers in the world. Let's get to know her opinion on the Stereographer Series questions!

Hi Céline, I really want to thank you for taking the time to chat with me today! Could you tell me what's your favorite 3D movie and why?
Céline Tricart: My pleasure Jim. Gravity of course! 3D is the perfect way to tell this particular story, the tension relies on distances, depths, space! It's also technically very well done but to me it's first and foremost a good story and a director who wanted to use stereoscopy to enhance his storytelling.

Explain your thoughts on the native 3D vs. 3D conversion debate as it stands with today's technology?
CT: The real debate is elsewhere. I don't care if it's native 3D or conversion, if the 3D is considered as a filmmaking tool and used properly in accordance to the story, then I'm in. I believe in the future of hybrid movies, part of it being shot natively, part of it converted depending on what's easier / has a better quality / is cheaper. I generally prefer native 3D because it means having 3D monitors on set and that gives the creative crew the opportunity to learn this new medium and use it in a better way.

Right. Real-time feedback to the creatives. What do you make of the negative comments that Seamus McGarvey has made regarding 3D?
CT: Clearly this interview is dated. He talks about lenses changes that takes 45min while today it's between 3 and 4 minutes with a good 3D rig and an efficient 3D crew. It's funny he doesn't even remember the exact name of the rig he used. I guess the DP who used the first HD cameras in the 90's probably had the same point of view... But it would have been unfair to use these reviews to judge the HD cameras of the years 2000. It's also funny he said they had a stereographer on set on Avengers who was a pain in the ass... Avengers is, still today, one of the best 3D-converted movies, to me it means it was definitely worth it! People don't like to change, that's why most DPs hate digital compared to film, and 3D compared to 2D. I don't mind! As far as I'm concerned, I'm always on the lookout for new ways of telling compelling stories. Intellectual curiosity and need for experimentation is the best human quality I think.

Speaking of change, how to you position China now on the world cinema stage now that they have ~20,000 3D screens in place and growing?
CT: Definitely the biggest player out there for 3D box office. Most of the tentpoles now integrate Chinese locations and famous local stars. And the Chinese audience loves 3D! They're not stupid though, and if the studios keep sending them bad 3D conversions we'll get bored and upset. I hope they won't kill the golden goose...

What brought you to 3D in the first place? (chance, study, interest, etc)
CT: Chance! I feel really lucky to know a bit about 3D and have this amazing additional tool as a director! It was 2006, I was in film school in Paris and the french 3D club organized a screening in our projection room. It was basically a bunch of retired guys, building 3D rigs in their garage but they said something that changed my life: they said 3D was ready technically (well, almost!) and now what was desperately needed was writers, directors, artists to transform it into an art form. It blew my mind! I decided to write my end-of study essay about 3D storytelling and I directed a 6-minutes short film in 3D. It was very empowering to feel like a pioneer, to reinvent all the filmmaking rules and create a new language for this technology.

What is your preferred set up on set? (camera, rig, lens, etc)
CT: Technology is changing very fast... If I had to shoot a feature tomorrow I would probably choose Red Epics with 15-40 Optimo and a TS5 3ality Technica rig. With this configuration I know I can shoot as fast as in 2D and do steadycam, handheld...

Are there any new stereoscopic technologies coming out in the field that has your interest?
CT: I'm really interested in VR and shooting a fiction in 360 degrees 3D ! I can almost hear people complaining about it: "What's the point of not having a point of view decided by the director? What if the audience is not looking at the main character? Film was so much better..." VR is a new challenge, we'll have to figure out what storytelling in VR means... I'm very excited about it !

When working with optics do you find there is disparity between how long it takes to make a 2D lens change verses a modern 3D set up?
CT: Of course, you have to change 2 lenses instead of one and to redo the 3D alignment... With a decent crew and a modern 3D rig it shouldn't take more than 3 or 4 minutes though.

If you have worked with 3D conversions as a stereographer adviser on set, how are the general interactions with the cinematographer and director as opposed to a native 3D production?
CT: I've worked as an on-set stereographer for a Chinese movie that was shot in 2D and later converted. I had a blast! The Chinese / Hong Kong crew has eager to learn and "think in 3D" despite the fact they were shooting with a 2D Arri alexa like they usually do. I trained the DP and director as much as I could, and stayed on set for two weeks. The first few days I had to intervene a lot, mostly about the framing (get rid of blurry foregrounds, over the shoulder etc.) and the depth of field. After a week I didn't have to say anything anymore. They got it right away, embraced it and had a lot of fun with it!

What would be your favorite shot for 3D and why?
CT: Long steadycam POV shot I guess... Works really well and 3D makes sense as we see in 3D in real life.

Obviously 3D has matured since the late 2000's both in technology and expertise. What credentials / experience would you mention that helps separate you from the field and brings you to the top of the industry?
CT: I don't think I'm at the top of the industry! I'm still learning, and enjoying it a lot! My ultimate goal is to direct a 3D feature film, hopefully soon... Then I'll be able to use this credential and pretend I'm at the top in the industry !

Many would agree with me that you should be mentioned in the best of the best. Speaking of learning, what education would you recommend to up and coming stereographers / cinematographers in today's world?
CT: I'm not very familiar with US film schools, but I think the best education is to watch as many 3D movies as possible, take notes of what you liked / disliked, and then watch the movie again without the 3D glasses so you can identify the type of 3D settings or shots that works best. And do some tests, experiments! It's very easy to build a cheap 3D camera or to buy some of the prosumer ones out there.

Do you have a post-production software preference for working with the stereo images to do any fine tuning you need to do?
CT: Not really, the software changes and gets better every year.

How important is resolution? Would more pixels be more important for stereo 3D? Higher dynamic range? HFR?
CT: None of these are "necessary" for 3D. It's a matter of storytelling, again. Is the story demanding a higher resolution? HFR? HDR? Maybe no, maybe yes! I like the HFR technology but to be honest I didn't really like it in "The Hobbit". It's a fantasy film, taking place in an imaginary and magic world, I don't think the realistic effect of the HFR is suitable for this type of story.

Are there any specialty filters that you find enhance the stereo images? How about specialty filters that you have found should never be used?
CT: Whatever filter the DP wants to use, we can make it work. Sometimes it's tricky because it means ordering a filter big enough to cover the entire mirror box of a 3D rig. Some specialty filters can create different effects on each lenses and therefore retinal rivalry. That's why I believe in hybrid filmmaking: Is a particular scene requires a specialty filter and the director doesn't want to add it in post, then why not shooting this scene in 2D and convert it in 3D in post ?

Split focus diopters are a popular tool in 2D. Do you think a director looking for an effect like that can get that in stereo 3D?
CT: I've never try to do it in native 3D but it's probably worth trying, especially because we love wide depth of field in 3D! If it's technically too challenging, then again this shot can be converted in post. Anything is possible!

Open mic: What is the biggest challenge that you'd like to openly discuss about today's 3D?
CT: Same thing as 2, 3, 4 years ago: We have to get rid of the ticket upcharge for 3D! Do we pay an upcharge to see a movie in cinemascope? In color? In surround sound? If seeing a movie in 3D cost as much as a 2D movie, it will encourage independent filmmakers and smaller budget to shoot in 3D because they'll know their audience will go and see it.

Open mic: What are you happiest about in the 3D field?
CT: The technology and 3D rigs have never been better, and the best 3D movies I've ever seen has been released in the last 3 years. It's very encouraging to see talented directors getting interested in this new language! Hopefully the new generation will have the same open mind.

If there was one thing you could change about the industry what would it be?
CT: No upcharge for 3D movies!

Thanks so much for your time on this Céline! Congratulations on TRANSFORMERS: AGE OF EXTINCTION being the number one box office movie around the world thus far for 2014! Almost $1.1 billion. And... I loved the 3D. Looking forward to seeing more of your stereo work soon Céline!

Stay tuned for our next interview in the Fall Stereographer Series coming soon!

UPDATE: Theatrical Trailer for THE HOBBIT 3 Coming Nov. 6?

Tim here, and Happy Halloween everyone. It's the last day of October and we still haven't gotten a theatrical trailer for The Hobbit: The Battle of the Five Armies like we thought. TORN is reporting that November 6^th may be the date. Warner Bros. will likely pair it with another big movie of theirs: Interstellar. This is a slight margin of error for PJ's earlier comments this year. We can't hold it against him as we all know delays are bound to happen. Plus today is a special day for him.

We'll keep an eye out and share it with you as soon as it hits. For the meantime enjoy dressing up as your favorite characters from your favorite 3D movies this year... Happy Halloween. And... Happy Birthday Peter Jackson!

The release of The Hobbit: The Battle of the Five Armies arrives in theaters December 17^th, 2014 in IMAX 3D, RealD 3D, HFR 3D.

Confirmed Marvel Release Dates And Titles Through 2019 - Title Posters!

Marvel held a fan and press day today in Hollywood and revealed their movie lineup through to 2019. On hand at the event was the ever present producer Kevin Feige, Chadwick Boseman (BLACK PANTHER), Chris Evans (CAPTAIN AMERICA) and Robert Downey Jr. (IRON MAN).

That's huge news on the casting of BLACK PANTHER! Chadwick Boseman is probably best known for playing Jackie Robinson in 42.

It's significant to note that Benedict Cumberbatch was not on hand and Marvel has not yet signed him on as DOCTOR STRANGE. "If it was confirmed, we would have announced it today."

Further - pay heed that THE AVENGERS 3 will be broken down into two parts - INFINITY WAR: PART 1 and PART 2 which we kinda knew already.


Here are today's announced Marvel release dates and titles:

Captain America 3: Civil War – May 6, 2016
Doctor Strange – Nov. 6, 2016
Guardians of the Galaxy 2 – May 5, 2017
Thor: Ragnarok – July 28, 2018
Black Panther – Nov. 3, 2017
The Avengers 3 – Infinity War: Part 1 – May 4, 2018
Captain Marvel – July 6, 2018
Inhumans – Nov. 2, 2018
The Avengers 3 – Infinity War: Part 2 – 2019

Official Marvel Concept Art

Five More HOBBIT Character Posters!

Tim here, and here are yet another five more character posters for The Hobbit: The Battle of the Five Armies. Again spread across the last few posts on The Hobbit's Official Facebook Page. The images above are the new posters, and each keeps the close-up on the face of the character theme; First up Bard (Lee Evans), then Tauriel (Evangeline Lilly), followed by Thorin Oakenshield (Richard Armitage), then Thranduil (Lee Pace), and lastly Bilbo (Martin Freeman). Yes, another Bilbo poster, but this one stays in the theme of the others.

Next up we'll get posters of Merry, Pippin, and Samwise... kidding. Obviously, we've yet to get all the dwarves: Fili, Kili, Bifur, Bofur, Bombur, Ori, Nori, Dori, Oin, Gloin, Dwalin, and Balin. My, oh my, I hope I didn't leave anyone out. However, Bilbo is the last of the character posters according to the Facebook Page. And then: the theatrical trailer!

I can't say when the theatrical trailer will hit. However, it is supposed to be this month. So keep cool and we'll let you know a soon as it hits.

The release of The Hobbit: The Battle of the Five Armies arrives in theaters December 17^th, 2014 in IMAX 3D, RealD 3D, HFR 3D shot in native 3D with 3ality Technica rigs.

More Character Posters for THE HOBBIT: THE BATTLE OF THE FIVE ARMIES !

Tim here, and here are three more character posters for The Hobbit: The Battle of the Five Armies. Spread across a few posts the last few days from The Hobbit's Official Facebook Page. The images above are the new posters. Each of them are close-ups on the faces of each character; First up we have Gandalf the Grey (Ian McKellan) looking off to the side with a grim expression, followed by Galadrail (Cate Blanchett) staring directly into the eyes of viewer, and finally Legalos (Orlando Bloom) poised with his bow ready to let an arrow loose.

If you go to the Official Facebook Page and comment on the latest posting of the picture you can vote who's character poster you'd like to see next. This means we're going to be getting more character posters, and it could possibly be a character poster a day until we get the theatrical trailer. The cast is that large, so it is feasible.

The release of The Hobbit: The Battle of the Five Armies arrives in theaters December 17^th, 2014 in IMAX 3D, RealD 3D, HFR 3D..

Fall Stereographer Interview Series - EXODUS: GODS AND KINGS's JAMES GOLDMAN

Our Fall Stereographer Series continues and has a great list of the world's best stereographers and technicians. Our goal is to enlighten you about the modern stereographer, his/her role in major tentpole productions, new technology and expert advice for the up and coming new generation of 3D creators. Be sure to check out all our interviews right here.

Next on tap for our series is stereographer James Goldman (OZ THE GREAT AND POWERFUL, PROMETHEUS, PIRATES OF THE CARRIBEAN: ON STRANGER TIDES) who is also responsible for the stereoscopic 3D in Ridley Scott's new epic EXODUS: GODS AND KINGS! This guy has his finger on the pulse of 3D and I am thrilled to have this chance to talk with him. EXODUS looks absolutely breathtaking. If you haven't seen the latest trailer - definitely check it out.

Here's EXODUS' storyline:
From acclaimed director Ridley Scott (Gladiator, Prometheus) comes the epic adventure "Exodus: Gods and Kings," the story of one man's daring courage to take on the might of an empire. Using state of the art visual effects and 3D immersion, Scott brings new life to the story of the defiant leader Moses (Christian Bale) as he rises up against the Egyptian Pharaoh Ramses (Joel Edgerton), setting 400,000 slaves on a monumental journey of escape from Egypt and its terrifying cycle of deadly plagues.

Thanks for taking time to talk with me James - I know you are extremely busy. How about and easy one to start: What is your favorite 3D movie and why?

James Goldman: Of course Jim, my pleasure. My favorite 3d film is Pina, the Wim Wenders film about Pina Bausch. I think that film really made a lot of people see what 3d was capable of. It took amazing spaces and filled them with objects and people to really utilize foreground, mid, and background. It played a lot with movement of foreground to background and vice versa. Not all narrative films can get away with that set up every time, but a dance film can.

Explain your thoughts on the native 3D vs. 3D conversion debate as it stands with today's technology?
JG: I think the debate really boils down to money and time with the studios. If a movie has a hard release date in the near future and 3d is desired, then they shoot native because conversion adds a whole other element to the post work time needed. If time is of no concern, then it seems to fall to conversion. I have heard conflicting reports as to which is cheaper; I’m sure that has a huge part to do with the direction it goes. Very few filmmakers are up to shoot 3d because they have heard all these horror stories about the delays and how long it takes to change lenses and so on. Conversion has come a long away- Guardians of the Galaxy looked amazing in 3d compared to earlier films.

What do you make of the negative comments that Seamus McGarvey has made regarding 3D?
JG: I respect Seamus McGarvey very much as a DP. His body of work speaks for itself. I know that his first experience with 3d was not a good one. He went out to test for Avengers with a camera crew that had never done 3d, a stereographer that was from the post side of things, and a package that was prepped in three days. I know this because I gave his camera crew some advice while I was prepping Prometheus in the next hallway at Panavision. I believe that, if prepped right, supported by a strong crew from camera, dit, and stereo, and given the proper tools, 3d can move almost as quickly and efficiently as a 2d film. I say almost because no matter how well prepared, you are always going to encounter issues. One rig has twice the issues as a 2d camera; that is simple math. We shot Prometheus and Exodus with five rigs in use almost constantly and in less than 90 days. I’ve worked on 2d films of the same scope that went much longer than 90 days.

How to you position China now on the world cinema stage now that they have ~20,000 3D screens in place and growing?

JG: China has a lot of people. Obviously those people want to see 3d, or the movie houses want them to see 3d. Only time will tell if that holds true. 3d made a big splash here a few years back and kind of slowed down. I know a lot of people hope it will take off over there for good. It can’t hurt 3d to have that much presence in the theatres.

What brought you to 3D in the first place? (chance, study, interest, etc)

JG: I ended up in 3d by chance first, and by study, second. I had done Alice in Wonderland as a camera assistant and was very interested in how it all worked. On Pirates of the Caribbean 4, we shot in 3d and I just paid attention to what was happening around me. Dave Drzewiecki was great to me and showed me how everything worked, along with Dave West from Pace, the best rig tech at Pace, hands down. I took over Pirates 4 in London and that was that. I did a lot of testing for Prometheus to get more comfortable with what I was doing and then it just all figured itself out. It helped to have good people around. Steve Evans on Prometheus was my right hand and very helpful in all areas.

What is your preferred set up on set? (camera, rig, lens, etc)

JG: My preferred setup is the 3ality TS-5 with Red Epic or Dragon. We have used a lot of zooms on big rigs: Angenieux zooms from 15-40, 45-120, and everything in between. Super speed prime lenses for the steadicam rig. Fiber system is a must. A SIP (Stereo Image Processor) for each rig. Fairly standard. Every rig has its own cart, then all carts hub into my main A cart so myself, or someone else, can monitor all of them as a final check.

Are there any new stereoscopic technologies coming out in the field that has your interest?

JG: There is always something new, bigger and better. Until I have seen it used and worked in the field I don’t get very caught up in it. I’ve been most happy with the wireless setups that have become available for rig and video transmission in the last few years. Small, fast, and easy to use.

When working with optics do you find there is disparity between how long it takes to make a 2D lens change verses a modern 3D set up?

JG: It definitely takes longer to make a lens change in 3d. On Exodus, we had it down to less than five minutes including setup of the rig. But that was because the stereo department and camera department worked very closely with one another. I was a camera assistant first and always try to think like that when setting up a rig. It is the camera crew that has to deal with it on a minute-by-minute basis. The more friendly the rigs are to everyone, the easier it is for everyone to help one another out when finding problems or changing configurations.

If you have worked with 3D conversions as a stereographer adviser on set, how are the general interactions with the cinematographer and director as opposed to a native 3D production?
JG: Never have.

What would be your favorite shot for 3D and why?

JG: Not sure about that one. Every situation has a different approach and way to shoot it. I like to play with each shot and see what I can get out of it. I know this- my least favorite 3d shot is a tight over.

Obviously 3D has matured since the late 2000's both in technology and expertise. What credentials / experience would you mention that helps separate you from the field and brings you to the top of the industry?
JG: I think what sets me apart of a lot of stereographers is my approach to shooting. I like to be on set. I like to see what is going on when cameras are being set up. It’s easier to work hand in hand with the operators to get what you want then to deal with the director or the dp for little things like moving foreground or cheating things around the edges of frames. I find it easier to go to the director and dp with over all concerns, not every little thing. I have been very fortunate with Ridley and Dariusz because they both trust me to do what looks best and are very accepting of the 3d and willing to work with it, to a certain extent.

What education would you recommend to up and coming stereographers / cinematographers in today's world?

JG: Pay attention to what others are doing. The best schooling you can get is watching films and other media to see what people are doing. A good shot will always be a good shot, 3d or not. Everything else is just practice. I started working in film because I really enjoy watching movies and was interested in how things were done. I still am.

Do you have a post-production software preference for working with the stereo images to do any fine tuning you need to do?
JG: I haven’t spent much time in post; none, actually. My good friend, Gareth Daley, who worked with me on Exodus and followed the film through post, swears by RV software. Gareth swears it is the best for viewing shots in 3d and all stereo analysis. He is one of the smartest guys I know and probably has more 3d experience than any other working in film. He did all The Hobbit films as head rig tech and worked on many other 3d projects.

How important is resolution? Would more pixels be more important for stereo 3D? Higher dynamic range? HFR?
JG: More resolution could always be better in some ways. With more pixels you just begin to create larger files and, until the world is showing 4k in every theatre, it’s only truly beneficial for post and visual effects. It would allow you to crop in and reframe later, as well. I’m kind of old school and like my movies to look like film, crazy idea in this day and age, I know. I still feel like the crispier the image gets the more it looks like sports on TV.

Are there any specialty filters that you find enhance the stereo images? How about specialty filters that you have found should never be used?

JG: The only real filter we use often is the quarter wave retarder. It helps to eliminate glare or polarization in one eye or both depending on the situation. When something is wet or painted with a sheen, it sometimes looks different in the reflected eye. If that can be fixed in camra and save the VFX houses from doing it than we try.

Split focus diopters are a popular tool in 2D. Do you think a director looking for an effect like that can get that in stereo 3D?

JG: I’ve never seen anyone try the diopter thing in 3d, although it sounds interesting. Not sure if the eyes could take it. I’ve always wanted to the old Martin Scorsese trick where you dolly in and zoom out only instead of zoom replace it with IO and Convergence manipulation, make the world breathe and shift planes.

Open mic: What is the biggest challenge that you'd like to openly discuss about today's 3D?

JG: I think the biggest challenge in 3d today is making good 3d movies. Often, when I go and see a 3d movie, and I see them all, it lacks good overall 3d. It seems like the 3d is just an afterthought. Working with people and hearing stories, I know that sometimes it is just that. When people go to see 3d, that’s what they are paying to see. Thank god for Marvel because they have continued to put out big movies that a lot of people see and they have continued to try and keep the 3d as big as possible. Even though its post converted, they still work to get the depth in and I think it makes a big difference with the viewers.

Open mic: What are you happiest about in the 3D field?

JG: I’m happy it’s still around. I’m not happy with things like 4DX. I’ve sat through a couple movies in that thing and it seems so gag orientated so far, much like the movie houses in the 1950’s that didn’t last.

Thanks so much again for your time for this James! I'm sure I speak for everyone in wishing the best for EXODUS at the box office and critical acclaim. I can't wait for it!

Stay tuned for our next interview in the Fall Stereographer Series coming soon!

New Poster Of Bilbo For THE HOBBIT: THE BATTLE OF THE FIVE ARMIES !

Tim here, and it looks like we'll be getting the next trailer for The Hobbit: The Battle of the Five Armies soon because yesterday Peter Jackson shared a new poster on his Official Facebook Page. The image to the left is the new poster. It depicts Bilbo Baggins (Martin Freeman) with his sword, Sting, thrust out in front of him, and what lies behind him is the devastation of a battle with burning flags and what looks to be the ruin of Dale.

Now there's nothing that explicitly states that we're getting a new trailer soon, however due to comments earlier in the year it's more than probable. Back in July when the teaser trailer was released we had been informed that the full theatrical trailer would hit in the fall. Our belief was that it would possibly be October. With the release of this poster on Jackson's Facebook it sparks the need to pay close attention again to Jackson's page. Most of the activity since the teaser trailer debut has been with regards to The Hobbit Fan Contest. Thus, this poster is an indication that activity on the page is about to increase. And we're still early in October so it could be the end of October that we'll actually get to see the trailer released. However, we're going to keep an open eye out for you and post it hear as soon as it's available.

In the meantime enjoy this new poster. I hope it's the start of many more Character Posters that we'll be seeing leading up to the release of The Hobbit: The Battle of the Five Armies. The movie hits theaters December 17^th, 2014 in IMAX 3D, RealD 3D, HFR 3D - all shot in native 3D with 3ality Technica rigs!

Jaw Dropping New Trailer For Ridley Scott's EXODUS: GODS AND KINGS !

Wow. Impressive trailer. I'm really looking forward to seeing this movie as there are few filmmakers that can capture a true story within an epic and Ridley Scott is one. GLADIATOR is one of my all time favorites. The VFX look ultra realistic which is saying something given the subject matter. Parting water and making it look realistic is one heckuva challenge.

EXODUS: GODS AND KINGS was shot in native 3D using 3ality Technica's TS-5 rigs and SIP with Red Epic cameras. This movie is going to look AMAZING. James Goldman (OZ THE GREAT AND POWERFUL, PROMETHEUS) is the stereographer.

Here's the storyline:
From acclaimed director Ridley Scott (Gladiator, Prometheus) comes the epic adventure "Exodus: Gods and Kings," the story of one man's daring courage to take on the might of an empire. Using state of the art visual effects and 3D immersion, Scott brings new life to the story of the defiant leader Moses (Christian Bale) as he rises up against the Egyptian Pharaoh Ramses (Joel Edgerton), setting 400,000 slaves on a monumental journey of escape from Egypt and its terrifying cycle of deadly plagues.

EXODUS: GODS AND KINGS opens on December 12.

Fall Stereographer Interview Series: GRAVITY's Chris Parks

Our Fall Stereographer Series this year continues from our Summer edition and has a great list of the world's best stereographers and technicians. Our goal is to enlighten you about the modern stereographer, his/her role in major tentpole productions, new technology and expert advice for the up and coming new generation of 3D creators. Be sure to check out all our interviews right here.

Next on tap for our series is stereographer and stereo supervisor Chris Parks (EDGE OF TOMORROW, JUPITER ASCENDING, JACK THE GIANT SLAYER, PIRATES OF THE CARIBBEAN: AT WORLD'S END) who of course absolutely nailed the stereo in Alfonso Cuaron's GRAVITY and helped push the movie over the top for audiences around the world. I'm very excited to have the chance to learn something from him! GRAVITY is one of my favorite 3D movies of all time.

I know you're extremely busy Chris - thanks for taking time to be with me today. Let's get right into it - What is your favorite 3D movie and why?
Chris Parks: Anytime Jim, thanks for the opportunity. There are elements of several 3D films that I like although I don’t think any of them get it all right. Avatar was amazing for its time and has to take a lot of credit for getting 3D to where it is now. Pina shows how 3D can be used to really add value to a film. T.S.Spivet was very bold with its 3D and should be applauded for that. I am too close to Gravity to be objective but it did show how a film can be shot and edited in a way that enables the viewer to perceive the 3D fully and so allows the 3D to affect the audience in the way that was intended

Explain your thoughts on the native 3D vs. 3D conversion debate as it stands with today's technology?
CP: They are both very useful tools that together allow you to achieve creatively what is impossible with just one or the other. Native 3D will give you the best results, but only if you shoot the film in a way that is designed to achieve what you want to in 3D as well as 2D. If, as a director, you just want to shoot your film as you would if it was just going to be in 2D, then most of the time you would achieve a better end result by converting some or all of it. If you have a lot of VFX, then the results from converting those fully CG shots can be as good as rendering them in stereo.

The other thing that conversion allows you to do, is to distort space. When I am doing a conversion project, I am not trying to recreate what the scene would look like if it had been shot with a native rig. I am trying to create a native aesthetic but I am changing the spacial relationships, the volumes of characters and objects to give a better result than if they had been shot natively. A hybrid solution where the decision to go native or conversion on each shot or sequence is made from a creative standpoint rather than for logistical reasons would allow the stereographer to craft the most rewarding experience for the audience.

What do you make of the negative comments that Seamus McGarvey has made regarding 3D? 
CP: A lot of what Seamus says I can relate to, or I think are absolutely right. When he talks about not wanting the reality of 3D and liking the flatness of 2D I really understand that. Cinematographers and directors aren’t creating flat films when they work in 2D. They are creating films with depth and using all the 2D depth cues at their disposal to give their films depth. Then someone like me comes along and adds in this depth and it is messing with what they are doing anyway, just in a different way. 2D film is an amazing art and is limitless in its ways of expression and I love it for that. Where I differ with Seamus though is that I believe that 3D does have a value in film making, and not just as a gimmick. I do think it is possible to use 3D to help tell stories and as part of the art, rather than just as a layer on top of what would otherwise be a perfectly good 2D film. I think we are only just starting to find ways to use it properly and even in Gravity where I think we pushed that side of it further than has been done before, I think we were only just touching the tip of the iceberg.

Seamus also talks about 3D rigs being too slow and breaking the flow of film making. He mentions 45 minute lens changes and endless alignment problems. All of that can be addressed with good crews and the right equipment. If we have the necessary prep prior to the first day of principal, then my crew can change lenses in 3 minutes and I expect to be able to use 95% of shots without any alignment in post. Nobody would last a day if they were taking 45 minutes to change a lens. There was a time when that was the norm, and I know there are still some rigs where that is the case, but it is not workable on a feature set. Without a doubt though, 3D rigs are bigger than 2D rigs of equivalent quality and steadicam operating becomes a game of survival rather than the art that it is in 2D. I have worked with Peter Robertson a couple of times and however much we try to strip things back, it is impossible for him to do in 3D what he can in 2D.

A lot though depends on the project that you are working on. I think Anna Karenina would have been stunning in 3D and the medium could have been used to support the story, the cinematography and the design. Joe Wright has a way of shooting that allows the 3D to be used in very creative ways. I personally think that it could be used more effectively in a film like Anna Karenina than in a film such as Avengers – but then I love what 3D can add to intimacy and those human moments.

What brought you to 3D in the first place? (chance, study, interest, etc)
CP: I got interested in 3D as a kid when my dad was filming for Life on Earth. He had a binocular (stereo) microscope, and the subjects that I had seen before down ordinary microscopes and which looked confusing and drab in 2D, suddenly looked incredible in 3D. Their design, transparency and subtle details all became visible. Later, I studied design at The Royal College of Art in London and my main research area was into 3D. Off the back of that I was involved in publishing a series of 3D books for which I designed the book itself and did the majority of the photography. That lead to being involved in IMAX 3D and special venue films for 15 years before the current resurgence of 3D allowed me to explore what was possible in narrative film making.

What is your preferred set up on set? (camera, rig, lens, etc)
CP: It depends on the nature of the shoot. My favoured setup for large feature film shoots would be a 3ality TS-5 rig. Red Epics and Arri Alexas are both good cameras for 3D and then whatever lens is dictated by the cinematographer and the look that the director wants for the film. I love the look of anamorphics but they aren’t feasible for native stereo work. Well matched Cookes probably hit the sweet spot for me in terms of a look that is attractive but precise enough to match between the eyes in stereo. Matched Angenieux zooms are great for speed if the shoot lends itself to that way of shooting. For other uses the P&S Freestyle rig is wonderful for its simplicity and I still have a lot of affection for the Hines Rigs – a wonder to behold with two 15/70 IMAX cameras on board!

Are there any new stereoscopic technologies coming out in the field that has your interest?
CP: Good Autostereo TV’s will rejuvenate 3D TV and create a market for film makers to push 3D forwards. So far I haven’t seen any that are good enough though and we risk alienating audiences by releasing TV’s which give a poor 3D experience.

When working with optics do you find there is disparity between how long it takes to make a 2D lens change verses a modern 3D set up?
CP: If you are comparing primes, then yes. A 3D lens change will take approximately 3 minutes on average with a good rig setup and experienced crew. With a bit of thinking ahead though the time taken for lens changes can nearly always be lost in the time taken for lighting changes or camera moves. If you are happy to shoot with zooms however, there is no difference.

If you have worked with 3D conversions as a stereographer adviser on set, how are the general interactions with the cinematographer and director as opposed to a native 3D production?
CP: The big difference is that on set you are talking in very abstract terms when working in 2D. There is no way to show how doing something will affect the 3D. You can suggest that changing the camera position, or lens or lighting etc will give better 3D – but better for whom? Maybe what I as stereographer think will be better actually takes it further away from what the director wants, but with no way to view it the discussion becomes much less precise. I try to counter that with conversations and screenings prior to shooting – looking at a selection of 3D material and gauging what the director lights. From that I can get a feel for what would work to support the film that they are doing. I will then suggest an approach for the 3D and we will refine it as much or as little as they want to. From that point, if we are on set, I can say relate comments to what we have discussed and what I know they want - ‘If you want the feel that we talked about then you need to stay wider’ for example. They can then decide whether in this case they do want that feel, or whether going tighter actually gives them what they are looking for.

What would be your favorite shot for 3D and why?
CP: High speed always works – it gives the audience time to explore the subject.

Obviously 3D has matured since the late 2000's both in technology and expertise. What credentials / experience would you mention that helps separate you from the field and brings you to the top of the industry?
CP: I think that it is really important that anyone working on a production is working to help tell the story, rather than working to a preconceived agenda. It is easy as a stereographer to go into a project with an idea of what will make for good 3D but it is really important to remember that films are collaborative efforts and it doesn’t matter whether a certain decision will help the 3D, if it hinders the telling of the story then it is not good. There are 100 things a day that have to make you change what you were planning, but the important thing is to be flexible and come up with a different (and ideally better) way to achieve good 3D. I think that having respect for all the other disciplines on a production is a very good starting point!

What education would you recommend to up and coming stereographers / cinematographers in today's world?
CP: Stereographers need to have an understanding of how a camera department works. Start out as a runner or trainee. Get experience as a camera assistant. Understand the language of film. Understand the 2D grammar and language of film. Once you have that, you can then use that to strengthen what you do in 3D

Do you have a post-production software preference for working with the stereo images to do any fine tuning you need to do?
CP: They are all just tools. Having a good operator is the most important thing. I have worked via T-vips (a remote teleconferencing system that allows me to be in a cinema in the UK while the operator is in the US and we are both seeing the same things on our screens) with an operator who I have never met. I only know him as Chris. We have done depth grading sessions that have worked seamlessly despite us being 3000 miles apart. It doesn’t matter what software he is on (it happens to be base light), the important thing is the result. Having said that, if I was operating then I would choose the Mistika as I know it can do everything that I need of it.

How important is resolution? Would more pixels be more important for stereo 3D? Higher dynamic range? HFR?
CP: More resolution is good for bigger screens, and particularly IMAX where 2K and even 4K images don’t compare to the resolution we get from 15/70 prints. 3D anyway gives a greater perceived resolution which helps. Higher dynamic range is great for 3D – being able to see further into the shadows or highlights in 3D helps stop them flattening out. Anywhere in the image that we can hold details, however subtle, is valuable. HFR – I think the jury is still out. It definitely helps with the strobing which kills the image in 3D films. It can make action sequences much more watchable. However, having drama sequences looking like TV isn’t going to win it any friends. Maybe the answer is to have a variable framerate that can jump between 24 and 48 as James Cameron is rumoured to be doing on the next Avatar. Maybe it is more about how it is used or lit? Maybe we just need to learn how to use it better!

Thanks so much for your time on this Chris! I appreciate it tremendously.

Stay tuned for our next interview in the Fall Stereographer Series coming soon!