"The best work has been done by confident filmmakers like Ang Lee, Martin Scorsese and Alfonso Cuaron," Cameron said. "They are confident so they didn't worry about asking questions, and there are no dumb questions. Ask questions on day one and two and go nuts on day three."
Steve Schklair, CEO of 3ality and 3D producer on Russian Imax hit "Stalingrad," noted that helmers were starting to make better use of 3D's capabilities. "One of the changes I'm seeing is depth budgets getting bigger," Schklair said. "I'm happy we're seeing more depth now than we were."
Cameron called on more filmmakers to follow suit. "Some filmmakers are too conservative. I think I was maybe even too conservative on 'Avatar.' I'm going to go deeper on the 'Avatar' sequels."
The helmer also insisted summer blockbusters weren't necessarily the natural domain for 3D. "Spectacle is spectacle whether it's 2D or 3D. For drama, the 3D effect can be electrifying. Intimate scenes really pop, they're more powerful."
A filmmaker embracing 3D is Wim Wenders, currently in post on drama "Everything Will Be Fine," following 3D projects including docu "Pina" and skein "Cathedrals of Culture." "There are no vfx," Wenders' director of stereoscopy Josephine DeRobe told summit delegates of the new film, which stars James Franco. "The 3D is used to get inside the central character and his emotions."
Schklair insisted cost was no barrier. "You do not need a big Hollywood budget to shoot in stereo. Any independent movie can do it." He referred back to Jean-Pierre Jeunet, who appeared on day one of the summit, and said it only cost â¬1.5 million ($2 million) more to shoot Jeunet's "The Young and Prodigious T.S. Spivet" in native stereo.
Meanwhile the debate about shooting native 3D vs. post conversion raged on. Prime Focus' Matthew Bristowe felt "Gravity" would silence conversion's critics. " 'Gravity' is here to bury all those criticisms about conversion and move forward." He joked about the infamous conversion of 2010's "Clash of the Titans" but argued those days were long gone. "There has been an evolution, both technical and creative, over those four years."
Despite Bristowe's hopes Cameron, Schklair and others remained critical of films entirely converted to 3D without pre-planning for the format.
"When studios force a conversion onto a completed film the shots aren't composed for 3D and it doesn't feel right," said Cameron. "The value added isn't worth the ticket."
Schklair insisted that rather than burying criticisms about conversion "Gravity" showed the way forward, using a combination of native stereo and conversion. "Creatively entire films being converted doesn't work and will destroy 3D. I believe in a hybrid model. Native is not even half the cost of conversion but certain things are harder to do native such as aerial or under-water shots. A hybrid approach still achieves the creative results of a native 3D shoot."
He argued planning for 3D is vital, as is 3D playback on set. "On set creative decisions are made based on watching the footage in 3D. It provides the ability for all departments to adjust."
To achieve this synchronicity Cameron insisted filmmakers need to stop thinking about 3D as a separate element. "We need to organically integrate stereo with all the other aspects of production design and cinematography."
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