Berlin’s The Post Republic and Prime Focus London are post producing DNA Films’ Judge Dredd reboot, Dredd. The 3D action film is being lensed by DP Anthony Dodd Mantle on three rigs of Red MX pairs supplied by Paradise FX Europe, which has a number of other 3D projects on its books. The Reds were complemented by SI2Ks on a steadicam rig, both recording to 1 Beyond systems. The biggest challenge on the project, according to The Post Republic managing director Michael Reuter, was turning around the amount of data which was acquired in different formats. The Post Republic supplied a Digi Lab on location in Cape Town SA, based around Iridas Speed Grade and including a 1TB server to store hi-speed Phantom data at 2000fps for dailies. The facility is compiling all picture post and will grade the piece after completion of 800 VFX shots created by Prime Focus London. Dredd stars Karl Urban is directed by Peter Travis and will distributed by Lionsgate for a December 2011 release. It is the most high profile of 3D features on the books of Paradise FX Europe and The Post Republic, which share a production partnership with the UK’s Vertigo Films. Vertigo’s StreetDance 2 has begun shooting in Berlin, London and Rome also on Red MX’s and SI2Ks, supplied by Paradise FX with post earmarked for The Post Republic in a mirror of the original 2010 UK box office hit StreetDance. “The first big gold rush has ended and some people have got cold feet but while we are seeing fewer enquiries those that are looking to do 3D are doing so with more seriousness and are likely to see the project through,” says Jim Spencer, Paradise FX Europe MD. 3D versions of Oliver Twist and German children’s classic Heidi are among those being touted. Adds Reuter: “The interesting thing is that we are being brought on board at the prep and script stage and to talk more about style than technical approach. Some filmmakers are doing their second and third 3D project, they have seen other 3D films and different genre approaches to 3D and have an opinion about the aesthetic direction their 3D project should take.” “People are less frightened by the technology since the technology is getting better and better,” adds Spencer. “The director and DP can concentrate on the storytelling and let us deal with the workflow.” In terms of technology, Spencer believes the Red Epic heralds the next big change. Paradise FX US owns two Epics, with more on order, and the company is currently designing a rig specifically tuned to the Epic’s specifications.