If the director knows a given shot is built with live action elements it tends to get approved more quickly than shots built with CG elements. .
John Gajdecki
Stereo Experience
I began shooting stereo images while in University, and tried to shoot my third year 16mm movie in 3D. My professor wisely talked me out of it, I don't think he wanted me to smash two cameras at the same time. Later on I built a stereo rig for two Nikons and shot stereo pairs all over the world ( so where's my Coffee Table book ? ) , and was elated to be hired as the VFX Supervisor for the Joe Dante and BOLD Films' feature, The Hole 3D.
The Hole 3D, Stereo Feature
I was VFX Supervisor on The Hole 3D (released in Europe but not in North America) which won the Venice Film Festival's Premio Persol for a 3-D feature deemed the most creative, from September 2008 to August 2009.
Competition included Up, Bolt, Journey to the Center of the Earth, Coraline and My Bloody Valentine.
Venice Film Festival's Premio Persol Award. 
Shooting FG plate with Paradise FX Stereo Camera rig. Theo van de Sande was the DP.
Stereoscope Collection
My collection of Stereoscope Cards has grown over the last 15 years to almost a thousand. Yes, I have looked at them all, at least for a few seconds.
Balmoral Castle, King Edward's favourite summer palace - and a Scottish Piper. Underwood and Underwood, 1903.
I have amassed a large collection of Stereoscope Photographs and viewers from the turn of the last century.
Subjects include the Paris Exhibition of 1900, London scenes at night, Studies of Japan and Canadian Moose hunting.
The Foundry Master Class for Stereo Compositing
Los Angeles session of the Foundry's Master Class on Stereo Compositing. In early 2011 I toured with The Foundry’s Master Class on Stereo Compositing in London, New York and Los Angeles.
We deconstructed the most complex VFX shot from The Hole 3D, examining the CG and compositing techniques in stereo that we used to create the shot. Next we looked at how the newest releases could be used to more quickly and efficiently finish the shot.
Shooting Stills in Stereo
I built my first stereo camera in the 80's.
I travelled widely with it, shooting a friend's wedding outside Toronto, Westminster Bridge, telephone poles in the Mojave desert, and Vancouver's skyline.
Two Nikon FE's with matched prime lenses were mounted in a wooden frame. Both cameras could swivel to allow convergence, especially useful with long lenses and large inter-axial distances. I used a double cable release to trigger the two cameras at the same time.
I shot everything on slide film, and viewed the stereo pairs with dual slide viewers
