When Robert Rodriguez and Frank Miller’s Sin City opened in 2005, it hit a chord with audiences who latched onto the graphic novel come-to-life style. For the sequel – Sin City: A Dame to Kill For – the directors once again would film live action photography against greenscreen, only this time in stereo, and then orchestrate a mix of black and white, high contrast and coloring to tell their story. Helping to bring that stylized vision to the screen was Prime Focus World, which became an equity partner on the film and sole provider of the visual effects and stereo conversion work. We break down the steps in making A Dame to Kill For possible.

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