THE FINEST HOURS (2016)

"The Finest Hours" marks Jared's final film supervising at Legend3D.

Jared worked closely with Director Craig Gillespie to establish a unique look for the film. The rain and various other atmospheric elements played a role in the film to engulf the viewer in the action as if they were there.

It was important for the stereoscopic design in the more human moments to play to the chemistry between Bernie (Chris Pine) and Miriam (Holiday Grainger), as well as Sybert's (Casey Affleck) sequences where he lead's the downtrodden crew to a plan that saves lives and gains him their respect.

The film played for an IMAX audience and considering the practical rain and water in the feature, it was an incredibly clean conversion.

THE WALK (2015)

Jared Sandrew served as Stereoscopic Supervisor to Robert Zemeckis for this high-wire heist taking place atop the world trade center in New York city circa 1974.

Jared designed the stereo experience to create an intense feeling of gravity and terror to any person with the guts to see this film in IMAX3D. Robert Zemeckis was very clear that he wanted "Awesome 3D all the time", which included the dramatic scenes and dialog moments. However, the big payoff is the actual walk in the final act.

"This has truly been the highlight of my career so far. Being able to collaborate with one of my filmmaker idols on a film that I never tire of watching, especially in 3D, has been invigorating. I am so inspired by they way he crafts a story and the imagery he brings to the screen with his chosen teams." - Jared Sandrew

In addition to stereoscopic supervision, Jared was also trusted to supervise various 2D VFX on the film including beauty work, iris replacement, wig fixes, image replacement, creative transitions from scene to scene, and various other paint out fx.

JUPITER ASCENDING (2015)

Jared collaborated with Stereographer Chris Parks to come up with a look that suited the Wachowski's style of filmmaking. This film was made with 3D in mind and it shows. Method, Double Negative, and Framestore were the primary vendors lending each of their pipelines to their strengths. Since this was such a VFX heavy film, Jared helped set up a formula for delivering elements that was both non-taxing nor invasive on the VFX vendors, but also provided the necessary quality in the final stereoscopic version of the film matching the 2D feature 1:1.

"What an honor to be able to work on the Wachowski's first stereoscopic endeavor. The first Matrix and the original Jurassic Park films are the reason I am in VFX today, and I am always in awe that I get to contribute to the catalog of these incredible creators."

THE LEGO MOVIE (2014)

Jared was invited to meet with Chris Miller and Phil Lord prior to shooting the live action elements for "The Lego Movie". Chris and Phil were very intrigued by the 3D conversion process, and wanted to make sure they captured the best composition on set to allow for a great stereo conversion. While "The Lego Movie" was mostly CG rendered by Animal Logic, there are various cut scenes in the film where Will Farrell and his son share some moments that shed a lot of light on the story at the end.

Jared shot stereoscopic reference with his DSLR on set to provide proper builds in the geometry of the set and the lego model.

"Using stereo as a device to make the father and son look large to the audience when looking though Emmett's POV was a perfect use of the medium. Chris Miller, Phil Lord, and Animation Director Chris McKay were so open to trying different techniques in stereo, and it was great to be able to collaborate with Animal Logic to insure the real world and the lego world blended into one cohesive film."

Lego family

On set the "Master Builders" provided us with hundreds of thousands of spare parts to put together our own Lego mini figures. This is what my family looked like at the time. This was before my son was born.

Panorama of the Lego set @ CBS Radford

Original Art from Jadon Sand

On the last day of shooting the boy that played Will Farrell's son, Jadon Sand, drew personalized thank you cards to many people on the crew. I thought this was really sweet and very creative :)

MALEFICENT (2014)

Stereographer Layne Friedman was Jared's lead when he worked at Sony Imageworks on "G-Force" in 2009. Layne was Stereographer on "Maleficent" which made it easy for Jared to know what Layne was looking for in the film out of the gate.

Legend3D, under Jared's supervision, provided under 10 minutes of conversion on this film, mostly concentrating on the non-vfx human moments and scenes with complex foliage.

MAN OF STEEL (2013)

Jared worked with director Zack Snyder and VFX Supervisor John 'D.J.' Des Jardin, to develop an overall look and feel for the launch of the first film in the "Justice League" series.

Zack and D.J. wanted the visual effects in the film to have an epic scale in 3D. They wanted world engine to feel large and menacing, and we used scale to tell the story in a way that brings the audience in, rather than distracts them from the visuals.

Krypton

The film opens on the final hours on Krypton. This 20 minute action sequence indoctrinates you into the world Jor-El is living in. When presenting Reel 1 to Zack and Debbie Snyder, Debbie complemented us on making shots that were under 10 frames in length easily readable in stereo using the stereoscopic blending process.

Faora

Faora's mask was completely CG and provided by MPC as an additional element. We were able to use this element to displace the stereo effect internally to the mask as if the glass was refracting the light differently in each eye. This provided a more realistic conversion.

Superman

The Man of Steel's cape was often CG. This allowed for easy depth placement using provided Z-depth passes from the VFX vendors.

Jor-El and Zod

Jor-El and Zod's suits were fully CG. This work was usually provided by WETA in the form of deep compositing elements.

THE LITTLE MERMAID 3D (2013)

Piggy-backing on the success of "The Lion King" and "Beauty and the Beast" conversions, comes "The Little Mermaid 3D".

2D animated films can look amazing if the stereo is handled appropriately. The internal process was to isolate the lines of each frame and setting the depth to create an implied sense of volume in the scene or object.

This is a process that came easily to Jared and his team at Legend3D, because their regular conversion process allowed for easy line isolation and placement.

On this film, under Jared's supervision, the team developed a way to quickly ingest 'floating window' values into the database from various sources allowing the entire facility to collaborate on the creative application of these windows.

THE AMAZING SPIDERMAN (2012)

The Amazing Spiderman marks Jared's first feature project working with native stereoscopic VFX and paint fixes.

Jared developed a pipeline at Legend3D to subtask rotoscope and paint in order to push these technical fixes though the facility at a high quality. This was the beginning of Legend3D's VFX division that evolved from there.

Many studios underestimated the roto and clean-plating process when adding the complexity of native stereoscopic plates. Jared's team was already well versed in 'seeing' in stereo, so it allowed him to quickly train them in providing quality elements, either for delivery to Imageworks, or for internal compositing to complete a shot.

Under Jared's supervision Legend3D delivered over 12 minutes of VFX and native stereo fixes and elements.

PIRATES OF THE CARIBBEAN 4 (2011)

Jared worked with Stereoscopic Supervisor Rob Engle to match natively shot surrounding shots using stereoscopic conversion. Most of the film was shot in stereo by Stereographer Chris Parks'.

Many of the shots converted would have been difficult to shoot natively including a chase sequence on a moving carriage, the under water sequence with the mermaids, dirty-overs looking at a compass while walking through a forest, macro shots, and a location that could only be travelled to by helicopter causing the crew to only bring the necessary people and equipment.

HUGO (2011)

Jared worked as the archive conversion supervisor by restoring, stabilizing, and colorizing original footage shot by 'cinemagician' Georges Méliès. The goal was to match the look digitally of the colorized footage that Georges painted by hand in the early part of the 20th century.

Since Méliès didn't shoot this footage in stereo, Jared converted the footage to blend with the surrounding natively shot plates.

Colorization and Restoration

Georges Méliès was ahead of his time and actually colorized a lot of his film with ink. Jared provided restoration and colorization to the finale of the film.

Georges Méliès Transition

At the end of the feature there is some vintage footage of Georges Méliès that needed to be converted in order to match the natively shot plates that Demitri Portelli captured of Ben Kingsley on set. Jared and his team matched the native 3D pixel gap and volume to allow for a seamless transition between the old footage and new.

THE GREEN HORNET (2011)

Jared collaborated with Stereoscopic Supervisor Grant Anderson on the conversion of "The Green Hornet". This feature was handled by over 9 conversion vendors and Grant was tasked with making the work from all the vendors blend from sequence to sequence.

Jared worked with Grant to match the look of the previously final sequences resulting in over 20 minutes of the overall film.

GREEN LANTERN (2011)

Jared worked with Stereoscopic Supervisor Ed Marsh on Green Lantern taking on some VFX shots for the trailer that lead to further work on the feature.

Many of the VFX shots were completed by Raising Sun Pictures in Australia. Jared and his team received collected Nuke files and prepared assets for stereo conversion in house.

THE SMURFS 3D (2011)

SHREK TRILOGY (2010)

Dreamworks made a deal with Samsung to bundle the first 3 "Shrek" films with the first generation Samsung 3D televisions. Jared signed on full-time with Legend3D for this project and worked with stereographer Phil McNally to understand the look of the past Shrek films in 3D, as Phil had recently completed "Shrek: The Final Chapter" in rendered stereo.

Again, Jared four-walled a facility in Los Angeles to complement the teams in San Diego. The 3 films were completed in about 6 months, and still hold up great on 3D BluRay.

ALICE IN WONDERLAND (2009)

This was Jared's first project at Legend3D. As well as Legend3D's first stereoscopic feature film contribution. Jared had some stereoscopic experience as a Senior Technical Director on "G-Force" with Sony Imageworks. This experience helped Jared understand the needs of the production since the conversion work that Legend was doing was subcontracted from Imageworks.

Jared four-walled a friend's facility in Burbank at the time and took on the bulk of the stereoscopic compositing of the 27 minutes awarded to Legend3D.

It was a perfect first project to study and improve upon. Recently, Legend was awarded "Alice in Wonderland 2" conversion work.

G-FORCE (2009)

Jared worked on "G-Force" at Sony Imageworks as Senior Technical Director. This was Jared's first stereoscopic project, and it brought with it interested challenges.

This is one of the very first stereoscopic conversions in hollywood, and was completed in a hurry with hundreds of compositors mobilizing to complete the conversion, all while working parallel with the 2D production.

NATIONAL TREASURE 2 (2007)

Jared was hired as a shake compositor on National Treasure. This was an opportunity for Jared to hone his skills on a node based compositing package, and also manage his own sequences under the direction of compositing supervisor John Stewart.

THE LAST MIMZY (2007)

Jared did a short stint at The Orphanage in San Francisco. There Jared got to work under DV Rebel, Stu Maschwitz. At the Orphanage he learned what it meant to be a compositor and how film and digital collide with incredible power in desktop packages. The Orphanage was a great environment to work in, and they gave Jared the opportunity to do look development on many of the sequences he contributed to.

PULSE (2005)

Jared was responsible for look development with Director Jim Sonzero, and worked with a very small team of compositors to do most of the VFX in the film. A still frame that Jared created for the film, ended up being the foundation for the films poster.