Mark H. Weingartner (US) shows 3D in "Pirates of the Caribbean" and his work for major Hollywood productions.

About Mark Weingartner
I work primarily as a VFX Director of Photography, shooting plates and elements and consulting with VFX Supervisors and main unit crews on how certain elements should be shot. I also work as an on-set VFX Supervisor for commercials and short form projects. I have worked as a Stereographer on several projects, notably Pirates of the Caribbean III, On Stranger Tides and Mozart, L’Opera Rock, currently playing in theaters in France.I started as a theatrical and dance lighting designer and worked for many years as a gaffer in New York, working on documentaries, television, and low budget features. Who knew that taking a quick job as a rigging grip on a Douglas Trumbull project would lead to a full time job lighting the live action portion of the Luxor Pyramid ride films? Working for Trumbull
led to my meeting and working for Richard Yuricich, ASC, who finished the job of dragging me out of 1st Unit and into Visual Effects by making me a motion control supervisor and VFX DP on several of the films he was working on. I worked for Richard for about five years.A great deal of the work I do now involves shooting multi-camera synchronized background plates, often using VistaVision film cameras. Most recently I photographed traveling background plates for The Dark Knight Rises using IMAX IW5-A cameras. I have also worked a fair bit with the Phantom
high-speed digital cameras As Chairman of the National Training Committee of the International Cinematographers Guild, the union for motion picture and television camera crews in the United States, I have helped to create a number of training programs over the last four years, notably a Data-Handling Workshop, a two-day
workshop in which we have trained many of our film-based members in the handling and protection of image files on set, and the Sony ICG 3D Training program, a three day program involving a day of classroom and two days of shooting on stage with actors and two standing sets, exploring and developing a visual vocabulary in stereo cinematography by trying different ways that scenes can be
covered in 3D. As one of the instructors for the program, I have taught the stage portion of this class a number of times and it gives me great pleasure to hear from our students how the class gave them an opportunity to explore the medium before they were “on the clock” and “on the spot” to make critical decisions about 3D filmmaking. I am a member of the Academy of Motion Picture Arts and Sciences Visual Effects Branch, the Visual Effects Society, and the International Cinematographers Guild. I currently sit on the ASC
Technology Committee, though I am not a member of the ASC.
I contributed three articles to the VES Handbook of Visual Effects:
Shooting Elements for Compositing
Supervising Motion Control
Acquisition of Motion/Still Phtographic Textures for Mapping onto CG