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3D filmmaking see our work as it was meant to be seen. Indeed, Alfred Hitchcock’s “Dial M for Murder” which has just been digitally re-mastered and re- released this autumn could use a laser projection screening. When “Dial M” finally gets a laser screening I will personally wake up Mr. Alfred Hitchcock and invite him to see the exceptional 3D film the way it was meant to be seen. I will also congratulate him on having been 50 years ahead of his time in using the medium with appropriate taste and style for dramatic storytelling. As with any emerging technology there are experiments and stumbling blocks along the way, fortunately, for this generation, many crude efforts such as the sexploitation 3D films of the 1970’s are behind us and master directors are taking 3D seriously. We have seen the absolute mastery of the animated 3D film and the commitment of individuals such as Jeffery Katzenberg (Dreamworks Animation) which was massively influential in the exhibition market. We have incredible improvements in the ‘conversion process’ with the tremendous success of Marvel Studios projects such as ‘The Avengers’ or the re-release of ‘Titanic’ and even upcoming ‘Top Gun’ and ‘Jurassic Park.’ I celebrate the achievements of my friends in the ‘conversion’ business creating 3D that not only gives new films like ‘G.I. Joe’ a chance to turn their product 3D after the shoot (or even the fabulous Frankenweenie by Tim Burton). There is a library of films needing digital re-mastering and restoration and with the introduction of 3D a new audience may see them like never before. Audience can appreciate more 3D films and purchase their own 3D TV sets when more product is on the market, this means filmmakers will be encouraged to create new product and this keeps me on set shooting 3D with great artists. However 3D is generated, is it not the norm? Is it not the way we see The World everyday? Was black and while film a compromise before colour? Was silent film a compromise before the talkies? Was 2D the compromise before 3D? This may not be a question for our generation so I will wait and ask again someday when my grandchildren take me to the cinema. We may convert old titles, we may also shoot 3D and convert some of our films as Michael Bay proved in a ‘hybrid’ model by shooting both digital 3D live and 2D with 35mm cameras on Transformers: Dark of the Moon. However we create the 3D content, if it is true to the story and respects the audience, then 3D will survive with this continued dedication. The craftsmen will be different; some will exhibit great courage and vision such as James Cameron and his dedication to 3D bringing us the groundbreaking Avatar. Although I myself am a 3D cameraman, the on-set stereographer who fundamentally believes that in order to truly capture the volume of an object one should record it with dual photo by Giles Harding 60 | TV-BAY MAGAZINE TV-BAY072DEC12.indd 60 07/12/2012 15:14