"We cut it like it was a 2D movie without thinking about the 3D," Cameron said. "We could concentrate on making great editing decisions from shot to shot based on the drama of the moment and the on-screen performance. Convergence could always be fixed later by adjusting the post-convergence of the two left and right images in the DaVinci Resolve system from Blackmagic Design that we set up in the Robert Wise dubbing stage on the 20th Century Fox lot. Since we filmed in 16:9 format, but it is intended for a 2.35:1 'scope release,' with the help of digital intermediate colorist, Skip Kimball from Modern VideoFilm, we had considerable latitude to adjust either the stereo space convergence or the head room for each shot."
Full article on TV Technology here.
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