The choice of camera and projection technologies has always been the single biggest problem in 3D film production. The fact is there are no simple answers to producer's questions. Typically, "how much will it cost to shoot in 3D" can only be answered after the full extent of the proposed production is known. What is the subject, where will it be shot, over what period of time, what is the venue (theatrical or special theater), etc?

There are two basic camera configurations, using single cameras featuring a special lens unit, or two cameras mounted on a special base plate (dual camera rig). The latter system is the most flexible though bulky and more costly. Single camera systems can produce decent 3D, though with certain restrictions, and not with the quality of dual rigs.

D3 developed the world's first wide screen, reflex 3D filming system that could be used on conventional (unmodified) production cameras (the original DIMENSION 3). From that development came the general observation that no one camera system is ideal for all purposes.

The BIGGEST problem with most 3D film productions made over the last 30 years or so is EYESTRAIN! The human visual system is quite adaptive and forgiving. But, the side effect is usually over-exercise of the eyes, or worse.

Even the very latest 3D presentations (especially some IMAX® 3Ds) cause considerable discomfort. Don't get me wrong, some of these new 3Ds are good entertainment. But they seem to have ignored 3D history. I always suggest one go see House of Wax to see exciting, natural 3D--with NO eyestrain whatsoever. Actually, any number of films from the 50's are stereoscopically superior to films made since.

Starting in 1973, this author (Dan Symmes) and Alan D. Williams undertook the computerization of 3D filming techniques. Very little practical literature existed, and what little did was generally flawed. Using this as the starting point, we developed a mathematical basis which was tested over a period of years on a variety of theatrical film projects and countless tests. We quickly found that 3D technique did not always fit an equation. Our system, known as SPATIAL efx^TM, incorporates information from extensive, unequaled production experience. For the first time, an entire 3D production can be consistent from scene to scene, with no eyestrain. It is true good 3D can be produced without a computer. I can do it in my sleep. But, the computer allows one to fully explore the 3D space, without fear of "going over the edge." Nothing's worse than looking at dailies the next day, just to find the 3D effect was "not off the screen enough" or, worse, rips your eyes out.

SPATIAL efx is fast, and works with ANY 3D system, film or video.

D3 does not "sell" any one 3D system. We have hands-on experience with most systems, past and present, and act as advisors as to the best system(s) for a proposed project. We can design and fabricate custom systems should this be required.

The analogy is that anyone can buy a 747 (sure), but you still need an experienced pilot.

For production, we provide a consultant that works with your director and cameraman in planning the use of 3D during preproduction, then, during production, helping both to actually "get it" on the film. Remember, 3D is a special effect. Unlike most effects that are on the screen for a few frames, 3D runs for the length of the film. The 3D consultant assures the consistency of the 3D, and provides cost/time effective methods for getting the director's mental image up there on the big screen.

D3 now has five dual camera 3D units (film/video). One unit can hold from video up to 35mm film, while four newer units can accept cameras up to 65mm.

We also provide single camera film lens systems.