The Dimensionalists

-By Sarah Sluis

“Most of the 2D-to-3D process is a visual effect, it’s just a specific application of different [FX] things,” explains Matt DeJohn of In-Three , which converted part of Alice in Wonderland and G-Force. “We’re creating mattes like you would on a green screen, we’re keying out characters, we’re doing paint like you would in rig [lines used in stunt work] removal, and we’re modeling, like you would in CG.”

Read the rest at Film Journal International

Highlights from The International 3D Society’s recent panel on 2D to 3D Conversion featuring Matt Dejohn VP/VFX Producer at In-Three.

By Ron Henson

Sony Pictures, located in Culver City on the West Side of Los Angeles, was the epicenter of a gathering of entertainment industry leaders in the field of 3D imaging and 2D to 3D conversion on June 17, 2010. The event was hosted by the International 3D Society and took place at the Ince Theater on the Sony Pictures lot. Jim Chabin, President of the 3D Society, took the podium and welcomed the participants. We were introduced to the distinguished panel of speakers. Lenny Lipton, Vice Chair of the 3D Society and President of Oculus 3D moderated the panel and pointed out that most of the folks present have a stake in the conversion business.

For the full article, visit Examiner.com

Damian Wader, the VP of Business Development for IN-THREE, INC., one of the pioneers in 3-D technology. Hub Culture’s Sharon Swart asks him about the 2-D to 3-D process. Damian talks about some of the films that will be converted to 3-D — George Lucas will be converting all six films of the Star Wars series — but Damian is evasive about what films he’s working on. Hopefully the world will find out soon!

Damian Wader, VP of business development at In-Three, the 3D conversion company that partners with media giant Reliance, said that working toward a viable 3D model that can translate to the home is the goal.

“This is the Wild West,” he said, speaking at an I3DS event hosted by xPand on Sunday. “With 3D now we have to do everything we can to support the medium and work toward participating in fulfilling the hours of content that the audience demands. And the audience is demanding more.”

Read the full article here.

Damian Wader, VP of business development at In-Three, the 3D conversion company that partners with media giant Reliance, said that working toward a viable 3D model that can translate to the home is the goal.

“This is the Wild West,” he said, speaking at an I3DS event hosted by xPand on Sunday. “With 3D now we have to do everything we can to support the medium and work toward participating in fulfilling the hours of content that the audience demands. And the audience is demanding more.” Damian Wader, VP of business development at In-Three, the 3D conversion company that partners with media giant Reliance, said that working toward a viable 3D model that can translate to the home is the goal.

“This is the Wild West,” he said, speaking at an I3DS event hosted by xPand on Sunday. “With 3D now we have to do everything we can to support the medium and work toward participating in fulfilling the hours of content that the audience demands. And the audience is demanding more.”

Matthew DeJohn, VFX Producer at In-Three, shares the good, the bad and the ugly of 3D filmmaking in the Digital Cinema Report.

With the flood of 3D content coming, no fewer than 25 films this year, it is important to understand how to critique 3D technically and artistically. What does good and bad 3D look like? What causes 3D to be bad or good?

Hopefully with all this ammunition you can not only say if a 3D movie had good or bad 3D, but you can also explain where it went wrong or right. We should all hold this new industry to a high level of technical and artistic quality.

Read the full article here.

Hopefully with all this ammunition you can not only say if a 3D movie had good or bad 3D, but you can also explain where it went wrong or right. We should all hold this new industry to a high level of technical and artistic quality.

India’s Reliance MediaWorks, part of the Reliance ADA group, is training a small army of artists to meet the rise in demand for 3D films following the huge success of James Cameron’s “Avatar” and other films.

To insure quality, Reliance has linked with In-Three, an established 3D player in Hollywood which shared its technology and will oversee its progress via information sent down Reliance’s high capacity fiber-optic cable.

Read the full article here.

Will we see Lord of the Rings in 3D?  Peter Jackson is ready to do it, read the full story.

Neil Feldman explains the artistic freedom that is available when using the Dimensionalization® process versus other methods of stereoscopic 3D content creation. He also reveals that the original intent for the technology was legacy films, and discusses how that has changed. In-Three is featured in the latest issue of Creative Cow Magazine.

Whether through shooting, CG, or post-production Dimensionalizing, we can all participate in constructing 3D content. By understanding what our strengths and weaknesses are, we can construct 3D content together, and work together to achieve the highest quality at the lowest cost, and the fastest pace.

Read the full featured article here.

In an interview with the Los Angeles Business Journal, In-Three’s Damian Wader reflects on the flexibility that Dimensionalization® has to offer to 3D filmmakers.

Most recently, the company did the conversion work on “G-Force,” a Disney film about talking hamsters. In-Three is currently working on another wide-release movie and is in talks to do several more, said Damian Wader, the company’s vice president of business development.

In-Three’s service allows directors who shoot a film the traditional way to turn it into 3-D afterwards, sparing them the hassle of working with bulky 3-D cameras.

In-Three had originally planned to use its technology to make 3-D versions of classic hits such as “The Matrix” or “Star Wars.” But the wave is bringing demand for its services on current films.

“We thought our business model would be mostly dealing with legacy films,” Wader said. “But now we’ve been asked to look at movies that have already been shot and they’re now trying to figure out how to turn them into 3-D.”

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