The team at Stereo D used no projection or automated solutions. The team isolated with multiple layers of roto each of the key elements of the scene, often many per person in the foreground and then these were used to derive a depth map. From the depth map normally a new left and right eye was created. By creating two new views the team reduced the amount of in-fill or missing information per eye. So rather than move an object in a ‘new’ left eye 80 pixels to create depth, while using the original film as the right eye, the team would make a new left eye 40 pixels left and a new right eye view 40 pixels right. “It was isolating every single image using roto and any other type of tool available to us, then sculpting those images in a depth map that made you feel like it was shot in stereo,” Sherak. “Then there was also a paint issue – the movie is filled so deep that the occlusion fill was unheard of – I don’t think any movie has had to be painted the wayTitanic has been painted, in terms of filling in the missing information. We have proprietary software to manage this, but really it only makes an artist more efficient.” Stereo D also have a proprietary production tracker that helped manage the conversion.