Our team members were recently recognized with Prime Focus, Mikros Image, and 3D Revolution for our combined work on Immortals by the International 3D Society:

"The 3-D look of The Immortals ought to dispel the prejudice against conversion from 2-D. The film has a satisfying look in which the depth effects meet the highest standards of professional stereoscopic cinematography not only within each shot but also in terms of a balanced look from shot to shot. In the work I have done reviewing tests from various conversion houses I have come to the conclusion that the key isn't the vendor but rather the supervising stereographer and Dave Stump gets credit for doing a great job on the film."   - Lenny Lipton

The 3DCG Digital Workflow Update

Multi-facility, international productions call upon the 3DCG team’s talents to create and manage the intricacies of their digital workflow. We are uniquely equipped to customize production plans that manage this new set of highly complex and challenging production processes.

The pervasive use of digital cameras, industry standard Digital Intermediate, customized native stereo shoots, and stereo 3D visual effects or conversions require a new set of technically detailed production processes. We are experienced in all these workflows, and can design or direct these through project completion.

When the 3DCG team is brought onto a production in the early stages of planning, our clients gain cost saving strategies and avoid time consuming problems that can occur further into production. Because we understand the process we are able to streamline a digital workflow to efficiently handle multiple locations simultaneously to meet compressed delivery schedules.

David Stump ASC; Senior Stereographer, Johnathan Banta; Stereo Pipeline Specialist, Chris Brown; 3DCG Executive Producer, and Rebecca Ramsey; 3DCG Executive Producer — the core of the 3DCG team — have the experience and insights to customize an efficient workflow for your next production. We represent our clients’ goals by working directly with each contracted production group, across multiple locations reaching from Los Angeles to London, Montreal to Mumbai, and beyond.  


With over 60 collective years of stereo cinematography, post, visual effects, conversion, and production experience including live action, our award winning team spent the last year creating new 3D content with a variety of partners at every level of production. 

Chris “CB” Brown, Johnathan Banta and David Stump are wrapping up the full feature 3D conversion of Immortals and Rebecca Ramsey has recently completed producing VFX/3D Stereo conversion for Conan, HP7, Dream House and 
The Change Up for Gradient Effects and Stereo International.

Contact us to see how the 3DCG team can fit with your current project.

We are ready to assist you!

The Gift of Good Work; Our 3DCG Update

Our ability to serve as advocates for filmmakers’ 3D aesthetic vision, ensuring the quality of 3D effects throughout production and post-production has connected us with some prominent projects.

Chris “CB” Brown and Johnathan Banta are back from assignment in Mumbai for Walden Media overseeing delivery of Narnia, Voyage of the Dawn Treader.

“The 3DCG team played a key role in the stereo delivery of NARNIA 3. They provided a vital interface between the Studio and our primary stereo vendor overseas. Their experience, positive attitude, and talents proved invaluable in delivering high quality images on an aggressive schedule. I would definitely look to work with them again.”
-Sean Santiago; Vice President Visual Effects, AFG | Walden Media

From previz to post, we recently completed an in-cinema 3D spot for Volkswagen, Jetta: handling the stereo shoot and establishing a CG stereo VFX pipeline for NYC prodco, 1stAveMachine.

“Chris, Rebecca, Johnny and Dave of 3DCG are an amazing group of individuals who supported our director’s vision and flawlessly guided us in order to make the best spot possible.”
  -Sam Penfield, Executive Producer, 1stAveMachine

Read more below about the Narnia and Jetta work:

3DCG Adds a New Dimension to Narnia’s 3D Conversion for Walden

Walden Media calls on 3DCG during conversion process, bookending the group’s 3D work on the film from trailer to conversion

(December 10, 2010; Hollywood) 3DCG Stereo Consultants’ Chris “CB” Brown and Johnathan Banta are back from assignment in Mumbai, India for Walden Media overseeing the stereo conversion of Narnia; Voyage of the Dawn Treader. The project was already familiar to the stereo production and VFX consultants having worked with Walden Media recently on the film’s 3D trailer in South Korea.

“The 3DCG team played a key role in the stereo delivery of NARNIA 3. They provided a vital interface between the Studio and our primary stereo vendor oversees. Their experience, positive attitude, and talents proved invaluable in delivering high quality images on an aggressive schedule. I would definitely look to work with them again.” summarizes, Sean Santiago; Vice President of Visual Effects AFG | Walden Media.

Spearheading a new data workflow and shot tracking system, the 3DCG team improved the information exchange between the Walden Media producers and the Prime Focus facilities working on the film. Onsite with Prime Focus’ Mumbai crew, Banta and Brown joined the final months of the film’s stereo conversion process, streamlining communications, and developing customized systems to keep the film on track with its delivery schedule.

Leading the charge in Mumbai, Johnathan Banta explains part of the 3DCG consultants’ role, “The dailies tracking system in place was a hand-counting bottleneck for the studio. Our solution to this manual process was to build a tool that served a dual purpose — to make the screening room more efficient, and to feed data to production regarding the shots in progress. By assessing this data, the producers could easily review the quantity of shots on schedule, or make necessary adjustments. Prior to this system, there was no way to accurately report progress. Now this tool does the math of calculating the shots accepted and those rejected, shows team productivity, projects future expectations, and gives the Production the data it needs.”

The 3DCG team also interfaced with Prime Focus’ world-wide facilities on the production. Walden’s daily production meetings led by Sean Santiago included Allison O’Brien who was on site for Walden at Prime Focus, London. The data was fed to all for review. Joining Banta in Mumbai, Chris “CB” Brown managed implementation of the new pipeline/ workflow system to meet the film’s conversion deadlines. Brown notes, “Sean Santiago's leadership was exemplary. Despite the inherent pressure of production, he sets the tone of each meeting with a ‘Let’s solve this together’ approach. Working with him has been an absolute pleasure.” Brown adds, “The spreadsheet system that Johnny developed proved to be a great bridge in communicating with the Walden clients about the work in progress. It would plot where the shots were going among Prime Focus’ locations and projected when they could be delivered. It also allowed us to simultaneously pull info out during daily screenings, which proved very valuable information for everyone involved.”

3DCG also provides their clients with a “Post Report”, summarizing their perspectives on each production. “Our clients have responded extremely positively to having these specific points of reference on areas within the process. It’s our common goal to improve the workflow for their next production.” notes, Rebecca Ramsey, 3DCG’s Producer.

Another common ground that the 3DCG team is finding is that many stereo productions and conversions are facing very compressed schedules. “We are often called into work in progress to help streamline production to meet set deadlines,” comments Brown, “The biggest culprit is when the production is not given ample schedule to produce the stereo effects at the quality level the filmmakers are envisioning.” Brown adds that this speaks to the core of the 3DCG team’s value, “If we are on a film early enough, we are able to predict what the problems will be and how to head them off.”

3DCG Stereo Consultants Add Dimensionality to Jetta: Paper Spot shot in stereo for 3D in-cinema advertising

1st Avenue Machine calls on 3DCG to enhance their stereo 3D productions for Volkswagen Cinema spots

(November 5, 2010; Hollywood) The 3DCG Stereo Consulting Group has contributed their stereographic expertise in pre-visualization, shooting and post production to a new :60 spot for Volkswagen, Jetta. Produced by 1stAveMachine with its director, Vinicius Costa for Red Urban agency in Toronto, the spot blends high-concept CG animations with 3D stereographic effects for in-cinema presentation beginning November 5th.

Bringing 3DCG’s talent team on board allowed 1stAve to directly control the 3D stereo shoot and work in progress under their production umbrella. By bringing 3DCG’s David Stump, Johnathan Banta, Chris “CB” Brown and Rebecca Ramsey onto the team, 1stAve was able to keep the production, edit and post under their roof with the exception of the final color correction which was done at Technicolor in Los Angeles.

”I remember interviewing the guys at 3DCG when considering bringing them onto the team. I asked them to tell me the “rules of 3D” fully expecting a constrictive list of all the things that we couldn’t do since we were shooting 3D. Chris Brown’s response insured the relationship, he said that their job was to promote the director’s vision and that it was the mission of their company to use 3D in new and inventive ways. Therefore we did not need to worry about “the rules”. Chris, Rebecca, Johnny and Dave of 3DCG are an amazing group of individuals who supported our director’s vision and flawlessly guided us in order to make the best spot possible.” says 1stAve’s Executive Producer, Sam Penfield.

To develop the pre-visualization for the spot, 3DCG’s Banta joined 1stAveMachine’s director, Costa and the company’s in house CG animators in New York to initiate the 1stAve team in creating 3D stereo animation and effects. Banta details his process explaining, “It was my job to introduce stereo visual effects techniques to a seasoned crew of traditional CGI artists. The need for precision in stereo visual effects work is unfamiliar to most at this time, and 1st Ave Machine wanted to get their pipeline established quickly. To that end I helped design their stereo pipeline, educate their artists, and they completed the work.” The 3D and compositing teams at 1stAveMachine quickly grasped the concepts, and modified their technique. Their creative input, and technical skill produced an exciting stereo experience.

At the same time in Los Angeles, stereographer Dave Stump, A.S.C., and producer, Rebecca Ramsey, both of 3DCG, were prepping for the West Coast live action shoot. Stump created custom plans for the 3D Stereo camera rigs and crew that would enable the live action crew to capture simultaneous “left eye” and “right eye” footage to generate the stereographic dimensionality.  

Stump recounts the complexity of converting rigs and systems to support the multi-camera set ups, “The principal challenge was mounting the two camera, 3D rig onto the car shoot mounts which were designed for single camera use. We also reconfigured the driving crane vehicle to accommodate a dual camera stereo rig and all its gear. We somehow managed to shoehorn all the gear and people into place onto that Chevy Suburban!” The Jetta was on a tow mount behind the camera crane and had it’s own camera on a specialized side mount that had the twin stereo cameras on a rail along side the car; equipped with motorized systems operated by remote control from the crew riding on the suburban.

Stump brought all these systems together with Video Equipment Rentals’ Director of 3D for Broadcast and Digital Cinema; Aaron Latham-James, and the capable crew they assembled. Stump acknowledges the VER team’s efforts saying, “Aaron, Sean and Keith were fabulously supportive in helping us achieve these goals.”

Anticipating the desires of their clients to view the 3D on the set, Stump and company configured a set up that replicated the same stereo experience audiences will view in theaters. “We were able to pull the shoot vehicle into the base camp, and plug into the 3D playback system to view what had just been shot.” Stump explains. The Director of Photography Dana Christianson, 1stAveMachine’s executive producer and producer; Sam Penfield and Leanne Amos, as well as Red Urban’s agency representatives were all able to view the takes with the same glasses and systems that audiences would be viewing the spot through in the theaters.

About 3DCG Consulting Group:

The 3DCG Stereo Consultants serve as advocates for the filmmakers’ 3D aesthetic vision and ensure quality of 3D effects throughout the production and/or post-production process. This team of 3D specialists are not a vendor, boutique or post production group, but are knowledgeable and experienced stereography and visual effects professionals. The 3DCG team offers options and solutions to optimize 3D production for stereo projects, and helps guide production to the best suited vendors for the 3D style and effects desired. The consultants establish procedures to keep the creative stereo design in the control of Production, while keeping tight control of time, costs, and the ‘look’ of the stereo design for their clients.

The group’s credit list includes a variety of services ranging from stereoscopic cinematography to troubleshooting stereo visual effects production pipelines, and consulting at all stages of the 3D conversion process. This work has involved them in productions including the trailer and the stereo conversion for Narnia: Voyage of the Dawn Treader, DreamWorks’ Fright Night, and an in-cinema stereo commercial for Volkswagen Jetta, among others. Learn more about the 3DCG team members at: www.3DCG.us <http://www.3DCG.us/> 


3DCG Stereo Consultants Add Dimensionality to Volkswagen Jetta's "Paper"
Publicity Release Posted: November 04, 2010 16:12:27 EST
Spot Shot in Stereo for 3D In-Cinema Advertising 


1stAveMachine and Red Urban Pay Homage to the Car Design Process for Volkswagen


Lmais@LMPR.com (949) 675-1592


3DCG Stereo Consultant Group
Executive Producer VFX: Christopher “CB” Brown
Executive Producer: Rebecca Ramsey
Post VFX: Johnathan Banta
Director of Photography/ Stereographer: David Stump
Aaron Latham-James
VER - Video Equipment Rentals

Agency: Red Urban: Toronto
Producer: David Isaac
Creative Director: Christina Yu
Art Director: Joel Pylypiw
Account Supervisor: Caroline Kilgour 

Copywriter: Jon Murray

Music: Human Worldwide

Audio: Pirate Audio 

Production Company: 1stAveMachine

Director: Vinicius Costa
Executive Producer: Sam Penfield
Head of Production: Ruhiya Nruddin
Head of Creative Development: Ron Brodie and I am the 
Live Action Producer: Leanne Amos
Production Supervisor: Julie Lee
Director of Photography: Dana Christiansen
Technical Director: Weito Chow

Post Producer: Crystal Campbell
Lighting and Rendering : Andy Gilbert  
Lighting and Rendering: Joe Nguyen  
Paper Dynamics: Marc Andre Grey  
Animation: Nick Dubois  
Animation: Alex Monteiro  
Animation: Rob Dollase  
Animation: Eugen Sasu  
Animation: Thomas Maine  
Compositing: Chase Massingill  
Compositing: Lucas Bell  
Tracking: David Martin  
Tracking: Eric Stoiqa  
Illustrations: Carlos Ancalmo  
Illustrations: Leo Weiss  
Editor: Eli Mavros  
Intern: Beryl Chen


For My Soul To Take, the film’s producers at Relativity Media sought a more communicative process to track their creative vision during the film’s 2D to 3D stereo conversion and called upon the combined talents of the 3DCG Consultants. Stump, Brown and Ramsey joined the work in progress providing valuable insights and implementing systems that allowed the production to deliver on schedule and more importantly, in alignment with the unconventional creative vision of the film’s Director, Wes Craven.

3DCG provided a solution and integrated work in progress solutions to meet the film’s shifting deadlines. On behalf of Relativity, 3DCG provided an array of internal services to optimize stereo conceptualizing, scheduling, client information flow, shot prioritization, screening standards, editorial/DCP, as well as scrutinizing the overall quality control of the 3D conversion.

Rather than adding additional layers to the post production process, Stump, Brown and Ramsey aligned with the post production facilities their client had contracted for the project; Prime Focus, both in Hollywood and in Mumbai. Working with the LA and Indian crews, 3DCG improved the quality of communications, streamlining the workflow and refining the stereography.

In order for Craven to review the work in progress, 3DCG set up Digital Cinema Server screenings in Ann Arbor, Michigan where the director was on location with his next production. The team converted a conventional theater into a properly calibrated 3D screening room that functioned as an accurate digital cinema environment for the director to evaluate the work’s progress on a weekly basis.


 Lmais@LMPR.com (949) 675-1592 

3D Stereo Consultants Present New Role Model to 
Manage 3D Productions 

Talent team of 3D/Stereoscopic/VFX/Post-Production specialists “watch dog” productions through stereoscopic shooting or conversion processes

(July 22, 2010; Hollywood) Responding to the overwhelming amount of 3D motion pictures inproduction and development, a team of 3D stereo specialists have grouped together, forming a new resource to supervise the complexities of various 3D production and post production processes. Led by executive producers Chris Brown and Rebecca Ramsey, this “3D task force” offers the esteemed talents of David Stump and Johnathan Banta — developmental leaders in 3D stereoscopic shooting and production methods. The team is also specifically experienced in the particular needs of creating stereo visual effects.  

 These consultants serve as advocates for the filmmakers’ 3D aesthetic vision and ensure quality of 3D effects throughout the production and/or post-production process. These 3D Stereo Consultants are not a vendor, boutique or post production group, but are knowledgeable and experienced stereo professionals. They offer options and solutions to optimize 3D production for stereo projects, and help guide production to the best suited vendors for the 3D style and effects desired. The consultants help established procedures to keep creative stereo design in the control of Production, while the 3D/Stereo Consultant team keeps tight control of time, costs, and the ‘look’ of the stereo design for their clients. 

According to Executive Producer, Chris “CB” Brown, “Our goal is to take the mystery out of stereo filmmaking. We want everyone to be as enthusiastic about and enjoy this exciting style of movie making as much as we do. We essentially become the watchdogs of the Studio, Director, Producers, and Editor’s ‘Stereo Vision’.”  

 The Consultants ensure that stereo elements from pre-production through post-production are within desired, and acceptable 3D parameters. They also recommend fail-safe procedures to backup, support, streamline, and deliver these elements — reducing common pitfalls, such as stereo anomalies, misalignments, camera and conversion issues, and post workflow — saving the Production budget and schedule delays.  

 For projects seeking high-quality 3D conversion, the team supervises the initial stereo design, allowing the Director and Producers to see the stereo flow from shot to shot. Once designed, the consultants are the guide for vendors creating the 2D to 3D conversion. Ramsey explains, "We supervise the final stereo composites to ensure quality is maintained throughout the conversion. This is the most costly and time consuming work and a high level of precision needs to be maintained. We ensure the quality levels of work coming from all of the vendors."

 The Consultants are well-versed, veterans in producing and supervising 3D/stereo productions, with over twelve years of 3D filmmaking experience in production and post production of stereo/stereo conversion, and over twenty years of visual effects creation and management experience combined. Recent project work includes assignments with Walden Media as well as generating a critical assessment and pipeline management re-design for an International 2D to 3D conversion house, and consulting on a “native” 3D film currently in pre-production. 

The Team :  

CHRIS “CB” BROWN has been on the cutting edge of 3D conversion and has produced dozens of tests for future 3D films. As executive produced for Sassoon Film Design his credited included many of the most familiar 3D productions including, ALICE IN WONDERLAND 3D, G FORCE and many IMAX 3D productions including U2-3D, MUMMIES 3D, LIONS 3D, and ARABIA 3D. His Visual Effects Supervising credits include WING COMMANDER, SPARTAN, DE LOVELY, THE BIG WHITE, FATHER OF INVENTION, WATERWORLD, TURBULENCE, and AIR FORCE ONE among others. 

REBECCA RAMSEY’s vast experience executing producing reaches across the full range of visual effects, motion graphics and design for film, television and feature marketing productions. Most recently Ramsey served Executive Producer for visual effects company: Look Effects, Inc. Prior positions include industry leading firms such as Kaleidoscope Films Group, H-Design, Inc, a pioneering company in broadcast graphics and interactive design, and Rezn8. Served as Vice President/Executive Producer for the visual effects division of Todd-AO Studios, an institution of the motion picture industry and began her producing career with R/Greenberg Associates (RGA/LA) an industry leader in main titles, trailers and visual effects for film and television.  

JOHNATHAN BANTA has served as the visual effects supervisor on many large format stereo films, in addition to his work designing stereo conversion pipelines and techniques. His credits include the VES award-winning, MAGNIFICENT DESOLATION, SEA MONSTERS 3D, U2-3D, HAUNTED LIGHTHOUSE 3D, LIONS 3D, MUMMIES 3D, SESAME STREET -4D, and SIEGFRIED AND ROY THE MAGIC BOX. He has been Emmy nominated for for JERICHO, FRINGE, V THE SERIES and a VES Award winner for MAGNIFICENT DESOLATION, ROVING MARS and VES Nominee for “V THE SERIES.” Johnathan is a well-known industry leader from his time spent with Boss Film Studios, Sassoon Film Design, and Zoic Studios.  

DAVID STUMP, ASC: David’s combined expertise in cinematography, 3D stereography, HD and visual effects have earned him a number of esteemed positions within the filmmaking community including his current role as Chairman of the ASC’s 3D subcommittee, He has been honored with an Academy Award for Scientific and Technical Achievement as well as with an Emmy award and nominations. At the forefront of these industries’ developing technologies, David’s extensive 3D and visual effects supervising work reaches back to the 80's on milestone projects including "Jaws 3D" "The Man Who Wasn't There in 3D", continuing into current productions such as a 360 degree simulation film for JIEDDO. David’s involvement in 3D/stereo productions includes pioneering innovations including co-designing 3D camera rigs such as the one used for U2’s 3D Super Bowl shoot as well as several other new technologies for 3D rigs currently under construction. His talents as VFX supervisor and as director of photography of visual effects has led to collaborations with many of the industry’s top directors, producers and visual effects supervisors on 
projects including BATMAN & ROBIN , BATMAN FOREVER, BOND 22 A QUANTUM OF SOLACE, CONTACT, FANTASTIC FOUR, HOLLOW MAN, X-MEN and X-MEN 2, to name only a few of his credits.  

About 3DCG Consulting Group: 
Visit www.3dcg.us 

Christopher "CB" Brown 
Executive Producer/VFX Supervisor 
818-406-8467 c. 

Rebecca Ramsey 
Executive Producer 
323.819.3998 c.