Tom Cruise as Cage in the exo-suit, close, in Edge of Tomorrow

A conversion designed to bring the audience closer to the action without losing the grit of the story at the film's centre.

What it was

Doug Liman wanted 3D to thrill the audience without losing the reality of the film, from the mech-suit training to the beach battles. The ambition for the stereo was to take the audience closer to the action while leaving the personal story of Tom Cruise's Private Cage untouched.

The depth was deliberately choppy, changing abruptly to suit the cutting and the camerawork, and Chris tracked which scenes let the audience's eyes rest and which kept them on edge. That balance between spectacle and story is a creative decision, and Vision3 designed and delivered it.

Technical approach

A 2D-to-3D conversion designed by Chris Parks and the Vision3 team so that the tangible weight of the machines of war came through in the depth while the fight against the alien hordes was taken to a new level. Additional stereography by Angus Cameron; stereo production based out of Vision3.

On camera

15:47 interview

Adam May on the Advanced Imaging Society’s The Close-Up

Adam May, Jim Chabin

Jim Chabin asks Adam about In the Heart of the Sea, and about Pan, Gravity and Edge of Tomorrow before it.

Everything on camera

In their words

Yet it's worth a watch, as it largely ignores battering your eyeballs with overblown impact in favour of adding noticeable depth to some of the largescale locations (such as the military training arena) and heightening the sense of danger as CG beasties zip around the widescreen image.

Home Cinema Choice, Mark Craven · Read ↗
Characters have a well-rounded quality to them; a pleasant dimensionality, and objects too are promoted well, all with no problematic 3D side-effects, even during the battle sequences.

AVForums, Casimir Harlow · Read ↗
The 3D never lets up and never goes flat.

High-Def Digest · Read ↗
Being a post-production 3D conversion, I was worried about how Liman's futuristic war picture would look when adapted to the third dimension - but my worry was for naught.

High-Def Digest · Read ↗
This is the rare live action conversion unafraid of pushing limits while doing so consistently.

DoBlu, Matt Paprocki · Read ↗
The post-conversion team served the narrative well here, and it's likely the shock they were able to convey could not have been achieved if the film were shot in native 3D.

3Defence, Daniel McClelland · Read ↗
Filmed in mono, Edge of Tomorrow was converted in its entirety by Prime Focus World, with production stereo supervisor Chris Parks working with Prime's SVP Production Matthew Bristowe and senior stereographer Richard Baker.

fxguide, Ian Failes · Read ↗
Edge of Tomorrow struck me as having some of the best 3D I could recall seeing in a very long time, and the scores prove it.

CinemaBlend, Sean O'Connell · Read ↗
Almost every move in Edge of Tomorrow was made to make great use of the 3D.

CinemaBlend, Sean O'Connell · Read ↗