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inner-D: Stereoscopic Conversion

Who We Are

  • GRANT BOUCHER, President
    • Grant has 15 years of award-winning experience in essential aspects of the entertainment industry, including the roles of animator, director, author, screenwriter, producer, and entrepreneurial executive. From "seaQuest" to "Star Trek*, from Star Wars to Titanic**, Grant brings to inner-D his experience and relationships with many of the most well-known and successful names in the entertainment industry.
    • * Primetime Emmy award winner for Outstanding Individual Achievement in Visual Effects, 1995
    • ** Academy Award for Visual Effects, 1997
  • JEFF WOOD, Producer
    • Jeff began a career with Wavefront Technologies as a graphics programmer in 1984. He was the fifth employee at Wavefront and was instrumental in making it one of the largest 3D software companies in the world. His work has included roles as technical director, manager of worldwide sales support, assistant product manager Composer, and product manager Maya. After stints as a TD and CG Supervisor at Groupe Andre Perry and 3D Magic then Director of Computer Graphics at LSI an arm of Saachi and Saachi, Jeff became the Head of Technical Directors at ILM.
    • The Technical Director group was responsible for creating the 3D effects, creature effects, lighting, software development, workflow and rendering of graphic elements for feature and commercial productions. As Head TD, he was in charge of various production teams of up to 50 artists and a overall group of more than 130 people. Jeff worked closely with Directors, Producers and VFX Supervisors to create and develop the various creatures and content on a number of feature films. As a senior manager at ILM, he worked on such features as Star Wars Episode 1, The Mummy, Mighty Joe Young, Spawn and Wild Wild West.
    • Most recently Jeff has worked on a number of projects at Amalgamated Pixels, including roles as Producer on The Italian Job, VFX Supervisor on Running Scared and Producer for Dragon's Treasure.
  • KEN BUSICK, Stereoscopic Supervisor
    • Ken Busick began working in production in 1991 as an assistant cameraman for Sony High Definition Studios. In 1993, he moved into the extremely popular field of digitally colorizing black and white films where he also began beta testing various software packages. This began his love of technology and led him to his first compositing gig on the television show Babylon 5 in 1997. For the next thirteen years Ken worked on dozens of various films, commercials and television shows: each one unique and different in its attitude, atmosphere and work pipeline. Now a stereoscopic supervisor for Inner-D Studios, Ken brings all of his experience to every new 3D production, helping to provide a non-stressful and fun production atmosphere where morale is high and productivity even higher.
  • CEDAR CONNOR, Stereoscopic Supervisor
    • Cedar Connor started his career in 1996 at Flying Spot Post in Seattle as a colorist and motionographer. In 2000 Cedar moved to New York where he quickly started a consulting firm advising companies on large-scale media management and workflow. In 2006 Cedar signed on with Beyond Our Reality Productions as the supervisor of a new post division. BOR Post went on to create visual effects and motion graphics for clients such as MTV, Sony Music and Honda.
    • Cedar moved back to the West coast in 2008 to help Mousetrappe develop the award-winning Beyond All Boundaries museum instillation. Cedar was nominated for a 2009 VES award for his participation.
  • SHANT JORDAN, Stereoscopic Supervisor
    • Shant Jordan's career in visual effects began in the late eighties, at the very start of the digital age, when he purchased a Commodore Amiga and taught himself how to create what were then simple computer graphics. His work was noticed by several prominent people in the art community including famed French illustrator Mobius, who commissioned Shant to develop conceptual 3D animation for his short film, The Legend of Arzach. During this time period he would also lend his talent to several small independent projects. It was his work at Foundation Imaging that attracted the attention of producer Douglas Netter, who in 1996 recruited Shant to start up the visual effects division of Netter Digital Entertainment. He built the effect department from the ground up, ultimately hiring and supervising a crew of 100+ animators, artists, and technicians. Shant served as CG Supervisor and Project Leader on the final three seasons of Babylon 5, its subsequent four TV movies, and a spin-off series- Babylon 5: The Crusades. Additionally, he spearheaded the development of the Emmy-award winning animated series Voltron.
    • It was also during this time period that he teamed up with Kevin Rubio to produce and supervise the short film Troops. Troops was recognized by George Lucas and Lucasfilm as a ground-breaking achievement in cinema, and sited in Time Magazine (1999) as one of the top 10 sign posts of the digital revolution.
    • Since 2003 Shant has been focusing his attention on feature films, applying his talents and well-developed eye as a Visual Effects Supervisor and digital artist to projects like: The Day After Tomorrow, Harold & Kumar Go To White Castle, Shark Boy and Lava Girl 3D, and Where the Wild Things Are. Shant made his directorial debut in the animated epilogue for Hellboy II: The Golden Army, DVD/Blu-Ray, and was visual effects supervisor for the award winning internet series Unknown Sender.

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What We Do

In-House Services offered

  • reali-D™ Stereoscopic Conversion. Realistic characters and worlds, no eyestrain or headaches.
  • VFX. Everything from stereoscopic enhancements to full Academy Award level vfx sequences.
  • Editorial (Avid, Final Cut) for the entire film, end to end. From first dailies
    to final conform.
  • DI & Color Grading. Realtime in stereoscopic 2k in our Real-D theater.
  • DCP mastering for all tests, screenings, and even final delivery if
    you so choose.
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Contact

grant [at] inner-D.com

1-818-888-5298

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Press

08.19.10 ASSOCIATED PRESS: PIRANHA 3D

"Visually...it was shot in 2-D and then converted to add a third dimension, but it looks better than other films that have followed the same path, including M. Night Shyamalan's muddled 'The Last Airbender'."

08.20.10 CINEMATICAL: PIRANHA 3D

"Even the post-production 3D conversion looks top notch, which just goes to show that not all movies that use the process will look as ghastly as Clash of the Titans or The Last Airbender."

inner-D is an official supporting sponsor of Variety's 3d Summit

http://www.3d-summit.com/

Extended inner-D Press Page

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