A running list of live-action features and IMAX/giant-screen documentaries actually captured with dual-lens or beam-splitter stereo rigs — plus the camera system used on each one. No 2D-to-3D conversions included. 🎥👓
James Cameron's own dual-HD rig documents a dive to the wreck of the Titanic — the film that effectively restarted native 3D filmmaking.
Cameron's second Reality Camera System documentary pairs deep-sea exploration with speculation about extraterrestrial life.
The first live-action feature entirely shot, edited and released in digital 3D — a concert film built from the ground up for stereo.
One of the first modern studio tentpoles built around native 3D, using an early version of the Cameron-Pace Fusion rig.
A native 3D concert film capturing the Best of Both Worlds Tour, aimed squarely at the format's family-audience potential.
Disney's second teen-pop 3D concert film of 2009, again shot natively with 3ality's multi-rig setup.
A slasher remake that helped kick off the wave of native-3D horror films aimed at reviving the gimmick-heavy 3D of the 1980s.
The fourth Final Destination entry embraced native 3D wholeheartedly, staging its trademark Rube Goldberg deaths for maximum depth.
The film that redefined what native 3D could look like, combining Cameron's Fusion rigs with performance capture on an unprecedented scale.
A gleefully over-the-top creature-feature remake that used native 3D for maximum splatter-comedy effect during spring break.
The Jackass crew's stunts and pranks were shot natively in stereo, turning practical mayhem into a 3D spectacle.
Marketed as 'The Final Chapter,' the seventh Saw film brought the franchise's traps into native stereoscopic depth.
A James Cameron-produced cave-diving survival thriller shot with the same Fusion rigs developed for Avatar.
Martin Scorsese's love letter to early cinema, shot in native 3D as a deliberate artistic choice rather than a marketing one.
The fourth Spy Kids film revived the franchise's playful gimmick roots, shot natively and paired with a scratch-and-sniff card.
A stoner-comedy sequel that used native 3D self-referentially, complete with a fake in-movie 3D show mocking the format.
A reboot of the Spider-Man franchise shot with native stereo digital cameras rather than post-converted.
The fourth Step Up film shot its elaborate flash-mob dance numbers natively in stereo to maximize the format's kinetic energy.
The fifth Resident Evil film was shot with high-end Sony F65 stereo rigs, one of the highest-resolution native 3D captures of the era.
A stylish, ultra-violent adaptation of the 2000 AD comic, shot natively in 3D on RED Epic rigs with a striking slow-motion drug sequence.
Peter Jackson's return to Middle-earth combined native 3D with a controversial high frame rate, shooting at 48 frames per second.
A hybrid concert film and narrative thriller, shot natively in 3D to capture Metallica's elaborate arena stage show.
A direct sequel to the 1974 original, shot natively in 3D as part of the horror genre's continued embrace of the format.
The second Hobbit film continued Peter Jackson's native 3D, 48fps approach, centered on the dragon Smaug.
The sequel expanded on its predecessor's native 3D web-swinging sequences across a larger New York City canvas.
The fifth Step Up film brought together dancers from across the franchise for a Las Vegas competition, again shot natively.
The trilogy's finale closed out Peter Jackson's native 3D, high frame rate Middle-earth production with its largest battle sequence.
A disaster drama based on the deadly 1996 Everest storm, shot largely in native 3D across real mountain locations.
Ang Lee's experimental war drama pushed native 3D to its technical extreme, shot at 4K resolution and 120 frames per second.
The fifth Transformers film used native IMAX 3D digital cameras for portions of its production, one of the format's later big action-tentpole adopters.
Produced by James Cameron, Alita: Battle Angel used the same Fusion Camera System lineage developed for Avatar.
Ang Lee returned to native high frame rate 3D for this action film pitting an aging assassin against a younger clone of himself.
Cameron's long-awaited Avatar sequel pushed native underwater 3D performance capture into genuinely new territory.
The third Avatar film continues Cameron's native 3D pipeline, introducing a new, more volatile Na'vi clan tied to fire and volcanic terrain.
One of the earliest IMAX 3D documentaries, filmed partly aboard the International Space Station itself.
An underwater giant-screen documentary showcasing deep-ocean marine life narrated by Johnny Depp and Kate Winslet.
A paleontological giant-screen film that reconstructs prehistoric marine reptiles using native 3D visualization.
A giant-screen documentary combining paleontological fieldwork with digitally reconstructed dinosaurs in native stereo.
Howard Hall's follow-up to Deep Sea, exploring coral reef ecosystems around Australia and Papua New Guinea.
A documentary following the final Space Shuttle servicing mission to the Hubble Space Telescope, shot partly by astronauts in orbit.
An aviation documentary tracing the engineering history of flight, culminating with footage of the Boeing 787's development.
A giant-screen documentary following South Africa's annual sardine run and the predators it attracts.
A giant-screen documentary about orphaned orangutans and elephants and the humans working to rehabilitate them.
A storm-chasing documentary following scientists and filmmakers pursuing tornadoes with a custom-built armored vehicle.
A giant-screen travelogue exploring the history, geography and culture of the Arabian Peninsula.
A documentary shot over more than a decade at Antarctic research stations, using purpose-built cold-weather stereo camera equipment.
A documentary exploring the European Southern Observatory's telescopes in Chile and the deep-space imagery they capture.
A giant-screen documentary following a young apprentice diver in Raja Ampat, one of the most biodiverse marine regions on Earth.
Shot aboard the International Space Station, this documentary presents Earth's fragility as seen by astronauts in orbit.
A giant-screen celebration of the U.S. National Park Service's centennial, shot across America's most iconic landscapes.
A documentary highlighting engineering feats and the young engineers behind them, from skyscrapers to disaster relief structures.
A documentary following the first attempt to reintroduce a captive-born giant panda into the wild in Sichuan, China.
A giant-screen documentary following working dogs trained for search-and-rescue, avalanche detection and conservation.
A documentary following the seasonal migration of ducks, swans and cranes across North America's wetlands.
One of the earliest IMAX 3D narrative documentaries, blending a young paleontologist's story with stereoscopic dinosaur recreations.
A giant-screen documentary bringing cameras to the edge of active lava lakes and volcanic craters.
A macro-focused giant-screen documentary exploring smaller and lesser-known marine species alongside more familiar ocean life.
A recent giant-screen documentary tracking the recovery of blue whale populations off the coast of Sri Lanka.
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Many of the biggest "3D" blockbusters were never shot with stereo cameras at all — they were converted from flat 2D footage in post-production. Conversion quality varies enormously, but none of it is native stereoscopy:
Some of these conversions are excellent — but excellent post-conversion is still not the same thing as a stereo pair captured on set.
Head to 3D Streaming and put these guides to use — no downloads, no sign-up, just put on your headset and press play.
Go to 3dstreaming.org