We don’t parcel that out, we haven’t yet. I know other movies go 30 minutes here, 20 minutes there, and 30 minutes there. We take the entire film to one facility and that, to me, creates a sense of balance and depth that doesn’t give you any eye fatigue. That is the most important thing for us, because the movie is not designed for stereo. We’re just having stereo be one additional way that you can view our story. So, it’s very different than Avatar or any other movie that was designed [for stereoscopic 3-D]. Transformers was.  He [Michael Bay] shot in 3-D.  We haven’t yet.

It’s a challenge of time, and it’s a challenge of lighting.  If you want to have it lit the way that you want to have it lit, sometimes in the DI for stereo, you have to bump it up or you can’t see the depth. When it’s dark it makes your eye work harder.  Then people will say, “I liked the movie but it was dark.” Two things. It’s the palate that you color your movie in, and how the distributors show your movie. You make the DI for the most pristine, balanced way and then they [distributors] show it the way they show it. They don’t want to pay for the lamberts. So, they show it with three foot-lamberts and anything is going to look a little dark. So, when you don’t have the glasses you sort of survive the moment. You have the glasses and you’re squinting a little bit, you’re working a little hard.  That’s why people constantly take their glasses on and off. “Why am I working this hard, is it something that I need to do?”

Listen, we welcomed it. We welcomed the format, we welcomed the outcome. We’re happy to hear that our fans go to see these movies more than once and if you want to see it more than once in another format we should be able to prepare that for you. The day that they don’t show up anymore, the day that the numbers no longer reflect that there is an appetite for it, that’s the day that we’re going to stop doing it.

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Dan Sarto is editor-in-chief and publisher of Animation World Network.