In an industry where stereo 3D is still struggling, Cameron has said that we need to wait for 3D to become “less remarkable”.

“We need to get to that point of equilibrium, where the tail isn’t wagging the dog,” says Cameron in an interview with TechRadar.

“I think we should look forward to 3D when it is less remarkable. In the same way we don’t talk about how great the colour is on our TV sets any more or how great the colour is in a movie,” he adds.

3D at the cinema

However, when it comes to 3D at the cinema, Cameron is a little more opinionated.

Despite a killer start to stereo 3D movies, the format has since been tainted by the likes of Piranha 3D. “[The movie uses] these stupid 3D tricks that people used to think were good. And there would be one of these zingers every few minutes where everything would come to a screeching halt and some 3D gag would be hanging right in your face.

“That’s the 3D influencing the film-makers and not the other way around.”

However, he notes that it’ll be good 3D that will win out because it is those films that make the money.

“The film didn’t make that much money, anyway,” he explains.

“Good 3D that’s done well in an integrated way and is an enhancement will make a film money.”

Read the full article on TechRadar

Read the making of Avatar on 3D World

In the commercial, titled “3″, a family of four sits down to watch the film on Sony’s 3D television before being mesmorised by magical Wonderland plants emerging through the TV into the living room.

Brickyard VFX used a pipeline consisting of Maya and Flame and were responsible for on-set visual effects supervision, CG animation, visual effects compositing as well as completing the spot in stereoscopic 3D.

Lead VFX artist Mandy Sorenson says of the process: “Having the ability of Flame’s stereo viewing capabilities in batch allowed us to look at every aspect of these detailed node-trees in context of the final stereo output.

“On top of that, Flame’s ability to output an interlaced stream and viewing through our JVC stereo monitor allowed us to view in stereo passively; a much more comfortable experience that purely anaglyph viewing or even active-shutter systems.”

The main challenges in completing “3″ were also found in the stereo 3D process, Sorenson continues: “The slight changes from eye to eye in the camera tracks, image colour and softness and other single eye anomalies were the main technical challenges.

“The normal smoke and mirrors of traditional 2D compositing had to be put on the back burner as every aspect of the shots needed to be achieved almost identically on the corresponding eye. This required tedious vigilance and some re-engineering of approach on what would normally seem like a simple task.

“Stereo compositing definitely keeps an artist on their toes!”

Visit the Brickyard VFX website.

Link to Alice in Wonderland in 3D on Amazon.com
Link to Alice in Wonderland in 3D on Amazon.co.uk