Ryan Murphy would together produce a 3-D film of the tour, directed by Kevin Tancharoen and shot during the North American leg. Murphy stated that the number of venues Glee Live! In Concert! could visit was limited, due to time constraints imposed by producing the television series, and as such, the film would enable a wider audience to experience the tour. Gary Newman, chairman of 20th Century Fox, expanded: "Part of what motivated us to do this movie in the first place is there was such a clamoring among Glee fans who said, 'Why didn't you bring this tour to my city?' They felt left out because we only went to four cities during our first tour. This movie will give fans—not just in the US but around the world—the chance to experience the 'Glee' concert in a visceral way." Newman said that the 3D format was chosen to give the audience "an immersing experience", and that the project is principally about "brand extension". He suggested that Glee is apt to work in the medium of film as many fans are teenagers and young adults, the prime concert film demographic, and are able to relate to Glee central themes such as inclusion. Filming Filmed on June 16–17, 2011, at the Meadowlands Arena in East Rutherford, New Jersey, Glee: The 3D Concert Movie was shot with the Cameron-Pace Group's 3D Fusion camera system. Glen MacPherson served as director of photography, and utilised seven Fusion 3D rigs with a range of set-ups, including a Cablecam, Steadicam, and Technocrane. The digital cinematography cameras held by the rigs mainly comprised a combination of Arri Alexas and Red Epics. CPG CEO Vince Pace noted, "One of the biggest challenges that we were able to overcome was the way these cameras are handled in a live production environment (compared with a feature shoot). The infrastructure of (CPG's mobile 3D production truck) had to accommodate the multiple camera formats and process them as a single format. That is not common in the broadcast world." The production truck was updated accordingly, and acquired, amongst other new technology items, a Kayenne Video Production Center production switcher, which allowed for the creation of line cuts—explained by Vince as cuts "created live and used to capture the energy at the time of the performance." He cited this as a factor which helped enable the film's completion with just a six-week post-production