Visual effects | Producer | Production manager | Miscellaneous Crew | Thanks (1)



2019 -Free For All (Short) (special thanks)                                                                                                                                           

1997 -Loose Tooth (Short) (special thanks)                                                                                                                                           

Miscellaneous Crew:

2020 -The SpongeBob Movie: Sponge on the Run    (stereographer)                                                                                                        

2015  -The SpongeBob Movie: Sponge Out of Water (stereographer)                                                                                           

Production manager:

1999 -The Iron Giant (assistant production manager: ACME)                         
1998 -Quest for Camelot (assistant production manager: ACME)
1996 -Space Jam (assistant production manager)


2010 -Purple Trouble (Documentary) (supervising 3d producer)
2010 -Jackass 3D (Documentary) (supervising 3D producer)

2010 -Black Panther (TV Mini-Series) (executive producer - 6 episodes)

- To the End (2010) ... (executive producer)
- Black Panther vs. Juggernaut and Black Knight (2010) ... (executive producer)
- Death of Father (2010) ... (executive producer)
- Revenge of the Evil (2010) ... (executive producer)
- Black Panther (2010) ... (executive producer)
- Pilot (2010) ... (executive producer)

2008-09 -Seth MacFarlane's Cavalcade of Cartoon Comedy  (TV Series short) (executive producer - 2 episodes)

- Backstage with Bob Dylan (2009) ... (executive producer)
- Super Mario Rescues the Princess (2008) ... (executive producer)

2008 -Georgy (Short) (executive producer)

2008 -Lady D (Short) (executive producer)
2008 -Lefty (Short) (executive producer)
2008 -Sean (Short) (executive producer)
2008 -Judy M.D.: Super Surgeon (Short) (executive producer)
2006 -Barnyard (executive producer)
2005 -Albert: The Movie! (Short) (additional animation producer)
2004 -The SpongeBob SquarePants Movie (line producer)
2001 -Osmosis Jones (associate producer)

Visual Effects:

2021 -Mortal Kombat (Stereo Executive Producer: Stereo D) (post-production)

2021 -Black Widow (Stereo Executive Producer: Stereo D) (post-production)
2019  -Star Wars: Episode IX - The Rise of Skywalker (Executive Stereo Producer: Stereo D)
2019  -Playing with Fire (production support: ILM)
2019  -Avengers: Endgame (executive producer: Stereo D)
2018  -They Shall Not Grow Old (Documentary) (chief creative officer and executive producer)
2018  -Solo: A Star Wars Story (stereo executive producer: Stereo D)
2018  -Avengers: Infinity War (stereo executive producer: Stereo D)
2017  -Star Wars: Episode VIII - The Last Jedi (stereo and VFX executive producer: Stereo D)
2017  -War for the Planet of the Apes (stereo executive producer: Stereo D)
2017  -Spider-Man: Homecoming (stereo executive producer: Stereo D)
2017  -King Arthur: Legend of the Sword (stereo executive producer: Stereo D)
2017  -The Fate of the Furious (stereo executive producer: Stereo D)
2016  -Rogue One: A Star Wars Story (stereo executive producer: Stereo d)
2016  -Fantastic Beasts and Where to Find Them (stereo executive producer: Stereo D)
2016  -Doctor Strange (stereo executive producer: Stereo D)
2016  -Miss Peregrine's Home for Peculiar Children (stereo executive producer: Stereo D)
2016  -The BFG (stereo executive producer: Stereo D)
2016  -X-Men: Apocalypse (stereo executive producer: Stereo D)
2016  -Captain America: Civil War (stereo executive producer: Stereo D)
2015  -Star Wars: Episode VII - The Force Awakens (stereo executive producer: Stereo D)
2015  -Point Break (stereo executive producer: stereoscopic conversion)
2015  -Truth (executive in charge: Stereo D)
2015  -Everest (stereo executive producer: stereoscopic conversion)
2015  -Ant-Man (stereo executive producer: stereoscopic conversion)
2015  -Terminator Genisys (stereo executive producer)
2015  -Jurassic World (stereo executive producer)
2015  -San Andreas (stereo executive producer)
2015  -Mad Max: Fury Road (stereo executive producer)
2015  -Avengers: Age of Ultron (stereo executive producer: Stereo D)
2014  -Exodus: Gods and Kings (stereo executive producer: Stereo D)
2014  -Teenage Mutant Ninja Turtles (stereo executive producer: Stereo D)
2014  -Hercules (stereo executive producer: Stereo D)
2014  -Guardians of the Galaxy (stereo executive producer: Stereo D)
2014  -Godzilla (stereo executive producer: Stereo D)
2014  -Captain America: The Winter Soldier (stereo executive producer: Stereo D - uncredited)
2014  -Need for Speed (stereo executive producer: Stereo D)
2013  -Percy Jackson: Sea of Monsters (visual effects executive producer: Stereo D)
2013  -R.I.P.D. (visual effects executive producer: Stereo D)
2013  -The Wolverine (visual effects executive producer: Stereo D)
2013  -Pacific Rim (3d conversion: Stereo D)
2013  -Star Trek Into Darkness (stereo executive producer: Stereo D)
2013  -Iron Man 3 (stereo executive producer: Stereo D)
2013  -G.I. Joe: Retaliation (3D executive producer)
2013  -Hansel & Gretel: Witch Hunters (visual effects executive producer: Stereo D)
2012  -Abraham Lincoln: Vampire Hunter (visual effects)
2012  -The Avengers (executive producer: Stereo D)
2012  -John Carter (executive stereo producer: Stereo D)
2011  -Captain America: The First Avenger (executive producer: Stereo D)
2011  -Thor (executive producer: Stereo D)
2011  -The Green Hornet (executive producer: Stereo D)
2010 -Gulliver's Travels (executive producer: Stereo D)
2010 -Jackass 3D (Documentary) (stereoscopic executive producer)
2010 -The Last Airbender (executive producer: Stereo D)
1997 -Titanic (visual effects executive producer - 3D version 2012)




Shows Gallery


Stereo D Extends Aaron Parry In Chief Creative Officer-EVP Role

3D Studio's "Driving Force" Has Been Integral to its Growth and Success



Deluxe Entertainment Services Group Inc. Jul 29, 2014, 02:00 ET


BURBANK, Calif., July 29, 2014 /PRNewswire/ -- Stereo D, Hollywood's leading producer of 3D for feature films, has extended Aaron Parry's engagement as chief creative officer and executive vice president. The Burbank-based studio has seen unprecedented growth in the past year and recently added offices in London and Sydney.

Stereo D is a subsidiary of Deluxe Entertainment Services Group Inc.

"Aaron has been a driving force at Stereo D, and his leadership and expertise have been integral to our enormous growth and success," Stereo D President William Sherak said. "As 3D technology continues to evolve, Aaron's experience will ensure that Stereo D continues to innovate while maintaining our peerless level of quality delivering stunning 3D imagery."

Parry oversees the creative vision of the company, as well as worldwide production and technology development. While at Stereo D, Parry and his team have created the 3D industry's most advanced 3D pipeline, resulting in an unmatched combination of speed and quality in delivery. Additionally, he has supervised the expansion of Stereo D's work force from a creative and technical staff of 10 people to more than 1,000 employees.

During his tenure, Stereo D has created the 3D conversions for 29 films, including "Titanic in 3D," and "X-Men: Days of Future Past," from Twentieth Century Fox; Warner Bros. Pictures and Legendary Pictures' "Pacific Rim," and "Hercules" from Paramount Pictures and Metro-Goldwyn-Mayer Pictures.  Additionally, Parry was stereo executive producer on the conversions Stereo D created for Marvel's "The Avengers," "Iron Man 3" and "Thor"; "Jurassic Park 3D," from Universal Pictures; "Star Trek Into Darkness" from Paramount Pictures; and "Godzilla," from Warner Bros. Pictures and Legendary Pictures, among others.

Parry joined Stereo D in 2010 after serving as supervising 3D producer on "Jackass 3D" for Paramount Pictures. His prior feature credits also include serving as line producer on Paramount Pictures' "The Spongebob Squarepants Movie" and as executive producer on the studio's "Barnyard." Prior to his work at Paramount, Parry was executive producer at Warner Bros. Feature Animation.

About Stereo D

Stereo D is the recognized leader in high-quality conversions of 2D theatrical content into stereoscopic 3D imagery. The company was formed in 2009 and was acquired by Deluxe Entertainment Services Group Inc. in 2011.  For more information, visit

About Deluxe

Deluxe Entertainment Services Group Inc. is a global leader in media and entertainment services for film, video and online content, from capture to consumption. 

Since 1915, Deluxe has been the trusted partner for the world's most successful Hollywood studios, independent film companies, TV networks, exhibitors, advertisers and others, offering best-in-class solutions in production, post production, distribution, asset and workflow management and new digital solution-based technologies.

With operations in Los Angeles, New York and around the globe, the company employs nearly 6,000 of the most talented, highly honored and recognized artists and industry veterans worldwide. Deluxe is a wholly owned subsidiary of MacAndrews & Forbes Holdings Inc. For more information visit

Logo -

SOURCE Deluxe Entertainment Services Group Inc.


Aaron Parry, Chief Creative Officer and Executive Vice President, Stereo D on NAB Show

NAB Show Tips from Aaron Parry, Chief Creative Officer and Executive Vice President
Stereo D®


Aaron Parry, Chief Creative Officer and Executive Vice President
Stereo D® , Burbank, California, shares tips for the NAB Show with Pamela Kleibrink Thompson, Recruiter, Career Coach, and Broadcast Beat writer


What advice do you have for someone who has never been to the NAB Show

Go beyond your comfort zone when it comes to lectures and exhibits. There
is a world of information and technology that may influence your business
from a periphery stand point.

What is the most significant trend in your industry this year?

In respect to 3D I would have to say new glasses-free television screens
being exhibited and released. We know it was only a matter of time and
with 4K and soon 8K screens it is becoming a reality for the home and
professional market.

Why do you attend the NAB Show?

At Stereo D our goal is to always lead from a technological stand point as
well as be incredibly filmmaker friendly, meaning we need to understand
the latest advancement they are dealing with on-set and in post so our
creative process and pipeline can stay ahead of the trends.

What have you learned at the NAB Show that has helped you?

We pride ourselves to be filmmaker friendly so we need to research all the latest info about digital cinema cameras. There are a myriad of storage mechanisms we need to focus on at NAB. We get most of our research done on the show floor or in sessions.

What was the best thing about the NAB Show last year? What were the
highlights for you? Any sessions?

Of course it is fantastic to connect with colleagues and discuss changes
in the industry, but for me it was diving into cloud based workflows.

What are you looking forward to in 2015?

I am looking forward to the Creative Masters Series.

Where is the best place to meet people at the NAB Show?
It sometimes can be a bit overwhelming. Check out the mixer or events. On the floor you can go up and ask questions. I don’t meet a ton of colleagues on the floor. Software/hardware vendors have be willing to shake hands and say hi. Most attendees stick to the core areas of their business. I make it a point to ask unusual questions and to make contacts and meet people.

What are you looking for at NAB Show this year?
Dolby is out there with a product that is really encouraging. Consumers are interested in technology that will allow them to enjoy stereo vision without glasses. There is also a lot of work being done with visualization that is glass free. Tv monitors will create a resurgence in the home market which means that 3D projects will have longer shelf life–direct exhibition to the home with passive technologies. Samsung is offering a 8K glass free projection system.

What is the don’t miss event, session or gathering or aspect of NAB for you ? It always changes year to year. Be attentive to the line up and the dynamic within your part of the industry. I always enjoy the Creative Masters series.

What do you like most about the NAB Show?

You can research everything in one spot. It’s an opportunity to connect with colleagues once a year. It’s a good chance to remind you of how big the industry is. Sometimes we get tunnel vision. I always leave inspired by someone I met or the technology I’ve seen.

What else would you want readers of Broadcast Beat to know about you or your company?

This last year Stereo D ventured into animation with digital animation production on the Sponge Bob Movie. Our animation partner is Iloura. We went to Paramount and they said this makes sense. Give the audience hand drawn animation. We’ve already done this for the first movie with the Paramount animation team. Everyone is happy with the collaboration, which will lead to more.

We are known as a service provider. In future we might be able to partnership with a studio to create content.

For the latest 2015 NAB Show news-and-information, stay tuned to Broadcast Beat Magazine! Broadcast Beat is an official 2015 NAB Show Media Partner. Visit the Broadcast Beat booth at SL15217.


Career Coach: Time Marches On

- Applying for Jobs




Follow these tips for successful submission follow-up.


By Pamela Kleibrink Thompson | Monday, March 19, 2018 at 5:17pm

In Business, Education and Training, Jobs & Recruiting | ANIMATIONWorld | Columns: Career Coach | Geographic Region: All

Often, when an applicant applies for a job, it seems that time drags on forever before he or she gets any resp

onse. Sometimes, it’s because people at the studio are busy doing other things -- like producing a show, meeting with investors, network decision-making, etc. But as time marches on, you become anxious, fearing that the studio you’ve applied to has no interest.

One of my career coaching clients recently asked, “How long do I wait before contacting a studio after my last email?”

I asked three recruiters and a studio executive to weigh in:

















Aaron Parry,executive vice president and chief creative officer at Deluxe 3D LLC. and Deluxe Animation Studios, Burbank

PKT: How long should an applicant wait to follow-up after submitting an application/portfolio?
AP: Reasonably, about 2 weeks.
PKT: What is the preferred medium for sending a reel?
AP: I personally prefer Vimeo for privacy reasons as well as ability to add custom reels.
PKT: Do you need hard copies of a reel or portfolio? DVDs?
AP: No
PKT: How often should an artist follow up with you?
AP: We should have given a time frame in the job description for follow up, however I would say two weeks after submission for a specific job, and 4 weeks for a general submission.
PKT: How do you want an artist to follow up?
AP: They should follow up with our recruiter.
PKT: Do you give out tests for applicants?
AP: Yes, but not for all positions.
PKT: Do you hire Americans? British subjects? Indian nationals?
AP: We have a studio in India so yes, we do hire Indian nationals, but do not generally provide visas for hire in North America.
PKT: Do you have internships at Stereo D?
AP: Yes



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