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In-Three was my first industry job that I started 3 years before I graduated with my bachelors. We were pioneers in stereoscopic conversion creating a process that was later implemented by all the mainstream Stereo Conversion and effects houses. When I started at In-Three it was a very small team working on test after test in order to refine a process that injected stereography into live action film. When we started hiring for Geforce I was promoted to Stereo Animation Lead and soon after was made supervisor of the department.

When we started Alice in wonderland I remember being so excited to be a part of a popular franchise and I continued my role as animation supervisor. I had more control over the hires and fires during this time and I crafted what I still consider was the best stereo team in conversion. most of that team is still working in the industry and they are thriving. I was proud of what we were able to achieve.

After Alice I was sent to India as an International Training Manager. This was a huge promotion for me but it was a sign of the end for In-Three. The competition of Stereo Conversion kicked into high gear after Alice in Wonderland. This was also the timeframe that Avatar came out which was a huge breakthrough in Stereography. In-Three did not have the resources to train hundreds of outsourced labor and front the cost to work on starwars.

In-Three was sold to Digital Domain in November of 2010. They shipped us to Florida to start a Conversion house called DDFL.

When I started Digital Domain I had to start at the bottom of the food chain. I remember being so frustrated but there was no point in crying about it so I put my head down and worked my way back to middle management. I wound up as a Stereo Animation Supervisor again and we did some fun movies.

Smurfs was a blur because I had moved to Florida without my wife. Needless to say, there was a lot of fun and loneliness during this time. I was purely focused on my work and it came out well. This was the second movie that this team was working on with Sony so it went much smoother. At Digital Domain I made a transition from out propriety stereo compositing application to Nuke, the industry standard for compositing Visual Effects.

This was a breakthrough for stereo conversion because Nuke allowed our stereography to be directly implemented in the visual effects pipeline. Smurfs finished and we started Transformers almost immediately after that. I loved working on Transformers, even though I hated the movie in the end.

After Transformers we had a long period of diversifying the stereo team into animations and other things. Finally, DDFL Filled Chapter 11 bankruptcy and I made a seamless transition to StereoD.

Stereo D is the artless factory of stereo conversion. Even still, they produce more films that anyone else in the industry and it was exciting to work on a few of these. I especially enjoyed working on Star Trek, and Avengers. The process didn’t change much from the process that we had developed over the 7 years before I started there. There was a larger focus on compositing and the departments were more diversified than at Digital Domain.

I had decided before I started at StereoD that I was done working myself up that ladder for a while and I just focused on the work. It was nice to change my focus a bit.

I was so excited when my wife announced that she was pregnant with my first kid. But, when a week later StereoD announced that they were moving the art to Canada a pit grew in my stomach and I realized that I would never be able to stop moving from place to place if I followed these companies around like a mindless drone. And so ended my Career in Stereo Conversion. I have since settled in Ventura and I love it. I took the first year of my son’s life off from work and I would not give it back for anything.