News Stories

3D technology becomes mainstream at CES 2012

[Screen Digest]

Based on this year’s International CES, 3D is no longer the headliner technology that it was a year ago. This does not mean that the industry has given up on 3D, but rather that 3D is now, as predicted, a standard feature of high-end home entertainment products. Both Samsung and LG separately said that over half of their respective 3D screen models in 2012 support 3D, while Panasonic claimed that for new models announced in 2012, 93 per cent of plasma displays, 40 per cent of LCD TVs and four out of six new Blu-ray players are 3D capable. On the content side, an increasing number of new blockbusters movies are now filmed in 3D, screened in 3D theatres and will be released on BD3D for home video audience. Now it is up to the marketing teams to try to convince consumers that the technology is worth investing in.

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Sony ups reliance on LG for LCD screens

[zdnet asia]

Japanese electronics giant Sony has increased its dependence on liquid crystal display (LCD) screens from Korean company LG, following a split from a previous partnership with Samsung Electronics in October last year.

LG Display is shipping more film-based 3D screens to Sony which are used in the latter’s Bravia television sets, LG CFO Jeong Ho-young told The Korean Times in a report Tuesday. The LG-Sony collaboration comes as the penetration rate of LG’s film-based 3D panels is projected to grow by more than 50 percent, the report said.

It added that the partnership indicated Sony’s switch from relying on Samsung, and its battery-powered 3D technology, to LG which is pushing its cheaper film-based 3D technology, undercutting its Korean rival Samsung.

Sony terminated its previous LCD joint venture with Samsung in a bid to boost its loss-making TV business, as prices of LCDs dropped due to Japan’s move to digital terrestrial broadcast which stifled demand for TV sets. Sony sold back its stake to Samsung in October last year, ending the partnership. …

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Data & Analytics Project

The Storytelling Cipher: Mapping Precise Story and Character Mechanics to Box Office Returns

Our Data & Analytics Project held “The Storytelling Cipher: Mapping Stories & Characters to Box Office Revenue” Tuesday, December 6, 2016 at the USC School of Cinematic Arts.

This study leverages the Dramatic taxonomy of film narrative to infer which scene-level character and story attributes generate more box office returns, by genre. We are extending this study to ads and movie trailers.

The project researchers used machine learning to map 70+ story attributes for 300 films to their box office returns to extract which story mechanics or character features in film generated the most revenue. This was the first time granular story and character mechanics have been used to predict box office returns, which opens up many avenues to make more data-driven creative and development decisions throughout the industry.

What’s a good story? The question has been hanging without a scientific answer since the dawn of man. It seems that a story’s lack of clear mathematical structure and universal taxonomy would relegate such classification of stories to the qualitative – and highly subjective- empire of critics and … people.

Until now.

The event presented results from the research, discussed applications for the development and creative process, and outlined next steps.

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