American Cinematographer - June 2011 - 53

computer that can then be rephotographed by two virtual cameras to create a new 3-D shot. “One thing that helped us immensely was that Marvel and Paramount understood that in order to take this stereo conversion to a higher level, we needed to allot enough time for the process,” notes Sewell. “Victoria had scenes turned over to Stereo-D six months ahead of schedule, and that lead time was critical. In addition, she insisted on weekly reviews of all the conversion work, which meant that Ken, Haris and I were able to guide and adjust the process from the beginning. This meticulous management and guidance was also crucial to our success.” Zambarloukos concurs. “The real key to the success of the 3-D conversion was that Ken, Wesley and I reviewed every shot and were constantly collaborating with the Stereo-D team,” he says. “If the filmmakers aren’t involved in the

process, then our intentions can’t really be known. That leaves too much room for interpretation. “I am really, really happy that we decided to shoot in 2-D and convert to 3-D later,” he continues. “It freed us up to do what we wanted photographically, and it allowed us very fine control over the 3-D effect of every shot, much more than we’d ever have on set. In addition, by waiting until the film was edited together, we could carefully balance the 3-D effects in every shot of a sequence to provide the most dynamic look without fatiguing the eyes. “I wouldn’t change anything about how we did the conversion process,” he concludes. “In fact, I’d recommend shooting 2-D for 3-D conversion long before I’d decide to shoot 3-D itself.” ●

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American Cinematographer - June 2011

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