apply depth and roundness to the individual elements using proprietary software and then we need to paint in the occlusions that were created by offsetting those objects as part of the depth process. Basically we round the objects and then shift them left and right to create the offset that would appear if you were in the position of the camera. Then we clean it up so that the viewer doesn't know it's been manipulated. Of course we take creative liberty to enhance things to help tell the story. Or if need be we take a more traditional VFX route and do a match movie with a virtual camera. There are multiple ways to tackle every shot depending on the circumstances. How did you get into the world of 3D? I worked as an assistant to James Cameron after Titanic was released and basically became interested in 3D by proxy. In the spring of 2001 Jim and Vince Pace started experimenting and testing a 3D camera system labeled the RSC, Reality Camera System. I fell in love with the medium on that shoot and transitioned through the camera and editorial departments on both of Jim's IMAX films, Ghosts Of The Abyss and Aliens Of The Deep . From there I ended up working at PACE and became the 3D camera producer on the 3D Hannah Montana and Jonas Brothers films and eventually worked for Michael Jackson on his concert experience that unfortunately never saw the light of day. After that