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PG | 127 min | Adventure, Drama, Fantasy
Peter Travers of Rolling Stone highlighted the use of 3D in the film suggesting that "like Hugo, from Martin Scorsese, Life of Pi puts 3D in the hands of a worldclass film artist. (Ang) Lee uses 3D with the delicacy and lyricism of a poet. You don't just watch this movie, you live it." In an interview with the Los Angeles Times, renowned director James Cameron highlighted the use of 3D in the film stating that

"Life of Pi breaks the paradigm that 3-D has to be some big, action fantasy spectacle, superhero movie [....] The movie is visually amazing, inventive, and it works on you in ways you’re not really aware of. It takes you on a journey, and unless you’ve read the book – which I hadn’t – you have no idea where that journey is going. It does what good 3-D is supposed to do, which is, it allows you to forget you’re watching a 3-D movie."

Richard Corliss of Time selected the film as the third-best movie of 2012, as well as calling it the next "Avatar."
PG-13 | 162 min | Action, Adventure, Fantasy
The film was released for traditional 2-D viewing, 3-D viewing (using the RealD 3D, Dolby 3D, XpanD 3D, and IMAX 3D formats), and "4-D" viewing. The stereoscopic filmmaking was touted as a breakthrough in cinematic technology. James Berardinelli, film critic for ReelViews, praised the film and its story, giving it four out of four stars he wrote, "In 3-D, it's immersive—but the traditional film elements—story, character, editing, theme, emotional resonance, etc.—are presented with sufficient expertise to make even the 2-D version an engrossing 2½-hour experience."
PG-13 | 91 min | Drama, Sci-Fi, Thriller
The 3D imagery was designed and supervised by Chris Parks. The majority of the 3D was created by stereo rendering the CG at Framestore. The remaining footage was converted into 3D in post production—principally at Prime Focus, London, with additional conversion work by Framestore. Prime Focus's supervisor was Richard Baker.
R | 92 min | Action, Horror, Thriller
The motion picture's world premiere was August 4, 2011 at the Fantasia Festival in Montreal, Canada. It was released in Real D 3D and digital IMAX 3D. In an interview with Shave Magazine, Nicholas D'Agosto revealed "the cameras we used were the newest hybrid 3D form. There are still two cameras kind of melded together with a kind of complex, mirrored frame that allows you to shoot in 3D". Richard Roeper stated in his review "From the opening credits to the final kill this film displays a great use of 3-D". In a review for Toronto.com, Linda Barnard has stated "this could be a case where the 3-D-shot movie is worth the extra few bucks to see". He described Final Destination 5 as "a clean, glossy thriller shot in native 3D (not post-conversion) that maximizes the technology without straining the audience's credulity or their constitutions." He also stated "Calling anything the 'best 3D horror film' has the ring of crowning the world's tallest midget, but Quale uses 3D almost shockingly well."
PG-13 | 154 min | Action, Adventure, Sci-Fi
The film had many positive reviews, from critics and the audiences alike, for its special effects and aggressive use of 3-D, leading some to call it the best 3-D experience since Cameron's Avatar. Neil Schneider of Meant to be Seen, a website focused on stereoscopic 3-D gaming and entertainment, remarked that "while Transformers: Dark of the Moon had the scrapings of a really good story, this 3-D movie was shot with a 2-D script." On the topic of 3-D, Schneider said "Transformers 3 was a mix of native stereoscopic 3-D camera capturing and 2-D/3-D conversion (as a 3-D tool), and most was done very well." He added, "At a minimum, Transformers 3 demonstrates that fast cutting sequences are indeed possible and practical in stereoscopic 3-D. More than that, it was a comfortable experience and helped exemplify great use of stereoscopic 3-D with live action and digital characters. That said, I think they still could have taken it much further."
PG | 97 min | Animation, Action, Adventure
Production took place in Australia, and the film was released in RealD 3D and IMAX 3D on September 24, 2010
Among other cinematic firsts, U2 3D was the first ever live-action digital 3-D film. Steve Schklair developed in 2001 a digital 3-D filming technique known as "active depth cut", which allowed for smooth cuts between shots that would normally not line up when filmed in 3-D. This was done using motion control photography and real-time image processing to create a realistic 3-D experience without subjecting the viewer to excessive motion sickness or eye strain. It was intended to be an inexpensive and effective way to shoot live events such as concerts or sports. After considering an NFL-based 3-D IMAX films saga, Schklair's company 3ality Digital decided to create a concert film with U2. The film's complex setup involved shooting with up to 18 3-D cameras simultaneously and capturing the footage digitally, U2 3D's production featured the first 3-D multiple-camera setup and was shot using every digital 3-D camera and recording deck in existence. One of the Fusion 3D camera rigs was used as a spidercam and became the first 3-D aerial camera. U2 3D was the first 3-D film to feature composite images with more than two layers. ollowing post-production, U2 3D became the first live-action film to be shot, posted, and exhibited entirely in 3-D and the first 3-D concert film. It received mostly positive reviews, with many critics praising the 3-D technology and innovation. Some went as far as saying that viewing the film's 3-D effects was better than attending a concert. Critics from publications such as the Irish Independent, The New Zealand Herald, Reno News & Review, Toronto Star, and USA Today said that the film's 3-D experience was "even better than the real thing"—a reference to U2's song of the same name.
PG | 76 min | Animation, Family, Fantasy
On October 20, 2006, Disney reissued Nightmare (no longer under Touchstone Pictures) with conversion to Disney Digital 3-D. Industrial Light & Magic assisted in the process. It made a further $8.7 million in box office gross. Subsequently, the 3-D version of Nightmare has been re-released annually in October. The 2007 and 2008 reissues earned a $14.5 million and $1.1 million, respectively, increasing the film's total box office gross to $74.7 million. The El Capitan Theatre in Hollywood, California showed the film in 4-D format from October 21–31, 2010. The reissues have led to a reemergence of 3-D films and advances in Real D Cinema.
From Cinemablend's 3D review: "Need For Speed producers announced the film's post-conversion to 3D a little over month before its opening weekend. Which seems a bad sign, right? But I'll tell you this: I was astonished to learn the 3D was created in post because it's spectacular. Though it wasn't shot in stereo, none of the work seems ill planned or without incredible effort... Director Scott Waugh was dedicated to favoring practical stunts over CGI, and it gives Need for Speed a sickening sense of realness, which is only enhanced by the 3D. As Aaron Paul ricochets from one set piece to the next, we're offered views of desolate deserts, bustling cities, and scenic seaside routes. Each one gets a pronounced depth that is striking. But where this element of 3D really stands out is in one action sequence in particular. I won't go into spoilers, but let me say this: If you are even remotely afraid of heights, you will probably freak out here. The 3D was so believable that even though my mind insisted, "it's just a movie!" I had to turn away…and maybe screech a little. It should be pretty obvious. Need for Speed has incredible 3D. It's so good in fact, that I assumed watching it that it must have been shot in stereo. But nope, Waugh and his team just did an amazing job with the conversion. Really, this should be a movie other productions considering post-conversion look to as a shining example. It even made me reconsider my stance of instantly grousing every time such a postproduction plan is announced."
A 2012 re-release, also known as Titanic 3D, was created by re-mastering the original to 4K resolution and post-converting to stereoscopic 3D format. The Titanic 3D version took 60 weeks and $18 million to produce, including the 4K restoration. Rolling Stone film critic Peter Travers rated the reissue 3.5 stars out of 4 explaining he found it "pretty damn dazzling". He said, "The 3D intensifies Titanic. You are there. Caught up like never before in an intimate epic that earns its place in the movie time capsule". Writing for Entertainment Weekly, Owen Gleiberman gave the film an A grade. He wrote, "For once, the visuals in a 3-D movie don't look darkened or distracting. They look sensationally crisp and alive".
PG-13 | 130 min | Action, Adventure, Drama
From Cinemablend's 3D review: "As you probably know, much of Dawn Of The Planet Of The Apes' apes are CGI creations, based on motion-capture performances. This means their composition layers would have been easy to isolate in post, and manipulate within the 3D look. Notably, director Matt Reeves not only took advantage of the CG, but also shot in native 3D, all the better to capture the true depth and richness of his various exterior locations in the rainforests of British Colombia."
PG | 98 min | Animation, Action, Adventure
In February 2010, according to insider reports, DreamWorks CEO Jeffrey Katzenberg protested Warner Bros.' decision to convert Clash of the Titans from 2D to 3D, then to release it one week after How to Train Your Dragon. Entertainment reporter Kim Masters described the 3D release schedule around March 2010 as a "traffic jam", and speculated that the lack of 3D screen availability could hurt Katzenberg's prospects despite his support of the 3D format. bringing its total gross income to date to over $75 million. Entertainment Weekly film critic Owen Gleiberman praised the film giving it an A- and wrote, "How to Train Your Dragon rouses you in conventional ways, but it's also the rare animated film that uses 3-D for its breathtaking spatial and emotional possibilities".
R | 96 min | Action, Adventure, Horror
Phelim O'Neill of The Guardian gave the film two stars out of five praising the use of 3D, while stating that The Resident Evil films "always look good and have well-staged action, but they don't have one iota of originality or imagination".
PG | 100 min | Animation, Drama, Family
The film's creators used three 3D printing systems from Objet in the development and production of the film. Thousands of high-quality 3D models, ranging from facial expressions to doorknobs were printed in 3D using the Polyjet matrix systems, which enable the fast transformation of CAD (computer-aided design) drawings into high-quality 3D models. The characters of Coraline could potentially exhibit over 208,000 facial expressions.
PG-13 | 115 min | Animation, Action, Adventure
Warner and Paramount planned to use 3-D projection technology that had been used by Monster House, Chicken Little, and 3-D re-release of The Nightmare Before Christmas, but on a larger scale than previous films. Beowulf would additionally be released in 35mm alongside the 3-D projections. Rolling Stone critic Peter Travers said "I've never seen a 3-D movie pop with this kind of clarity and oomph. It's outrageously entertaining". Tom Ambrose of Empire gives the film four out of five stars. He argues that Beowulf is "the finest example to date of the mo-capabilities of this new technique [...] Previously, 3D movies were blurry, migraine-inducing affairs. Beowulf is a huge step forward".
R | 101 min | Horror, Mystery, Thriller
My Bloody Valentine is the first R-rated film to be projected in Real D technology and to have a wide release (1,000 locations) in 3D–enabled theaters. Joe Leydon of Variety said, "director and co-editor Lussier (a frequent Wes Craven collaborator) plays the 3-D gimmick for all it’s worth: Everything from tree branches and gun barrels to bloody pickaxes and bloodier body parts appears to jump off the screen. He also makes effective use of the depth-of-field illusion, allowing audiences long views of various chest cavities from which hearts have been rudely ripped. At the very least, the overall tech package is a great deal more impactful than that of the 3-D-lensed “Friday the 13th Part III” (1982)". He added, in spite of the "state-of-the-art 3-D camera trickery, which helmer Patrick Lussier shamelessly exploits to goose the audience with cheap thrills and full-bore gore, My Bloody Valentine is at heart an unabashedly retro work, reveling in the cliches and conventions of the slasher horror pics that proliferated in the early 1980s". Mark Olsen of the Los Angeles Times said, the implemented 3-D technology enables "startling effects, but after a while the minor thrill of the trick is gone. Advances in digital technology have allowed the filmmakers to largely avoid the physical headaches that are perhaps the biggest hallmark of the cyclical attempts at 3-D moviemaking". Frank Scheck of The Hollywood Reporter said, "While the concept of adding 3-D to the horror genre is hardly new ... Patrick Lussier's film is the most accomplished example. The 3-D effects come fast and furious, rendered with a technical skill and humor that gives this otherwise strictly formulaic slasher picture whatever entertainment value it possesses."
R | 108 min | Action, Adventure, Drama
On Rotten Tomatoes, the film received a score of 31% based on critics' reviews with the consensus stating that "Sanctum is beautifully photographed, and it makes better use of 3-D technology than most, but that doesn't make up for its ham-handed script and lifeless cast."
G | 100 min | Animation, Adventure, Comedy
In addition to standard theatrical 35mm format, a 3-D version for IMAX was also released, generated from the same 3-D digital models used for the standard version. It was the first motion picture not specially made for IMAX to be presented in this format, and the first to open in IMAX 3D at the same time as main flat release. The 3-D version out-performed the 2-D version by about 14 to 1. The 3-D IMAX version was released again for the 2005 Holiday season in 66 IMAX theaters and made another $7.5 million prior to Christmas. Due to its financial success, the IMAX version was re-released in 2006, 2007, and 2008, and has become an annual Christmas movie. The 3-D version was released to DVD and Blu-ray Disc on October 28, 2008. Both formats include both the 2-D and 3-D versions of the film. it was then rereleased on Blu-ray 3D high def with a holographic picture on it on November 2009, November 2010.
R | 124 min | Adventure, Mystery, Sci-Fi
Cinematographer Darius Wolski convinced Ridley Scott that it would be possible to film in 3D with the same ease and efficiency of typical filming. 3D company 3ality Technica provided some of the rigs and equipment to facilitate 3D filming, and trained the film's crew in their proper operation. According to Scott, the decision to film in 3D added $10 million to the film's budget. Since 3D films need high lighting levels on set, the hallmark atmosphere of the Alien films with darkness and shadows was added in post-production through grading processes, while the 3D equipment was based on post-Avatar technology. Roger Ebert gave the film 4 out of 4 stars, labeling it a "magnificent ... blend of story, special effects and pitch-perfect casting, filmed in sane, effective 3-D that doesn't distract."
PG-13 | 114 min | Adventure, Comedy, Family
In December 2010, Singer said, "I’m very much looking forward to using the EPIC Red for my next movie Jack the Giant Killer which will be shot in, what else, 3D. The camera’s incredibly compact size and extraordinary resolution are ideal for the 3D format. But more importantly Jack the Giant Killer is my first movie set in a time before electricity. The EPIC’s extraordinary exposure latitude will allow me to more effectively explore the use of natural light".

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