News Stories

Why 3D Isn’t Dead, Just Changing

[by Graeme McMillan, SpinOff Online]

Much has been made by the press and people inside the industry about the “death of 3D,” as forecast by this weekend’s lower-than-expected take for 3D screenings of Pirates of The Caribbean: On Stranger TidesPeople didn’t want to watch Johnny Depp acting camp right in front of their faces! It’s the end of 3D cinema! It’s not, of course. But here’s the thing: If that is really the lesson that movie executives are taking away from the low box office last weekend, then the end of 3D really might be around the corner.

Just because Pirates‘ 3D haul was weak doesn’t mean that audiences are bored of 3D (If they were, wouldn’t 3D sales have fallen before this? The unrealistic alternative option is that audiences all across America suddenly decided on exactly the same weekend that they didn’t want to see any 3D movies anymore). Far, far more likely is that audiences just didn’t want to see this particular moviein 3d, which is an entirely different, and entirely understandable, thing. Think about it: What makes the Pirates movies fun – or, at least, as fun as they’ve been, which is an admittedly decreasing amount – isn’t the spectacle but the characters, which have been slowly turning into caricatures over the course of the first three movies. Increasing blandness + Little spectacle to earn the use of 3D = No real incentive for people to pay extra to see the movie in 3D.

(Admittedly, that doesn’t necessarily explain why IMAX earnings for the weekend were said to be “solid.” Perhaps people just like seeing pirate ships really, really big.)

The problem isn’t that 3D is over, the “problem” is that 3D as a novelty in and of itself is over. Audiences have had time to get over 3D as a gimmick, and now they’re at the point of picking and choosing which movies they want to go and see in 3D instead. Which is, in the grand scheme of things, great: It means that 3D just becomes another filmmaking tool, and not something that gets used everywhere and anywhere to artificially inflate the box office take of a movie. But watching the collective movie industry apparently have a nervous breakdown about the “failure” of Pirates in 3D suggests that they don’t agree that this is a good and necessary move, and that’s the real problem. The “right” next step for 3D is to keep making the movies, allow the audience decide what they want to see, and let the market correct itself. But what I’m worried is going to happen is that panicked movie execs, thinking that the 3D sky is falling, will just decide to pull out of 3D production altogether, and consign it to another fad, until someone like James Cameron comes along, makesAvatar 2 and the whole “OMG, 3D IS AWESOME” craze starts up again.

What we need is for 3D as gimmick to die, in order for 3D as… well, just part of filmmaking, to flourish. And in order for that to happen, people have to be okay with the idea that movies likePirates of the Caribbean aren’t going to necessarily be smash hits with audiences every single time they get released. Not every film is worth the extra money and a pair of glasses, and you know what? That’s really okay.

See the original post here: http://spinoff.comicbookresources.com/2011/05/28/why-3d-isnt-dead-just-changing/

3D Helps Historical Memorial Weekend at Box Office Led by Hangover 2 with $140M

[By Jeffrey Jolson, Hollywood Today]

For $140 million, I’d suffer through a Thailand-sized Hangover, and get the face tattoo as well. The sequel to the hit woke up to become the biggest-selling R-rated comedy opening ever and Warner Bros. won’t need any aspirin, its cure will be projected 5-day take of nearly $140 million.  It may not have been in 3D, but The Hangover Part 2 led the three-day weekend with $87M, with it’s weekday take and Memorial Day itself to sleep it off with another $20M-plus.

The movie almost hit a stumbling block as the tattoo artist who did the original Mike Tyson tattoo copied by Ed Helms’ character in a drunken stupor claimed he held an artistic copyright on the design and threatened to slap an injunction on the film. Warner Bros. wasn’t going to let that happen and had three things going for it: the studio has more lawyers than the tattoo guy, who quickly claimed it was covered as a legal parody; it could just pay for the damned tattoo; and if all else failed, Tyson himself is in the film briefly and could pay a little visit to the tattoo artist. The former world heavyweight can be just a tad intimidating when he wants to be.

Hangover 2 led what will be the top Memorial Weekend ever, likely to come in about $270 million overall. That even beats the former record-holder, the $240M booty in 2007 from Pirates if the Caribbean 3, Spider-man 3 and Shrek 3.  Just in time to save the ailing movie industry, who got a big assist from the oil business of all things. People saw more films as they were traveling less due to high gas prices.

Helping out this year was Kung-fu Panda 2 (one of three top titles in 3D), whose lead voice is chimed by Jack Black.  The 3-day weekend pulled in $48 million and it kicked in another $20M for its 5-day total of $68M.

Pirates of the Caribbean 4 in 3D hit a speed record of $500 million worldwide in just 10 days. Disney says shiver our timbers, that’s on par with past record of Pirates 3 in 2007 and the biggest Pirate ever. So the studio had the last “argh” over critics who insist the film the film was sluggish compared to past Pirates.

Johnny Depp and crew hauled in a booty of $40M domestic on the 3-day weekend bringing its U.S. chest to $153M from 4,164 screens.

Bridesmaids just married into an estimated $90 million dowry, with $22M coming from the long weekend.

Another 3D film, Thor, hammered out $11M for Memorial Day weekend, bringing Valhalla (and Marvel/Disney/Paramount) a domestic take of about $161M. See related Hollywood Today story on the impact of 3D movies on the movie business.

Coming in at No. 6 was Fast Five, which is about to speed past some franchise records itself. With its holiday take of $9M, it is about to pass slower traffic to hit $200M domestic, plus another $350M from overseas movie-goers.

Woody Allen now has another Top 10 film, as Midnight in Paris came in No.7 with $2.4 million. That may not seem like a lot, but consider he did it in just 58 theaters, compared to the 3,000 and 4,000 the top films had to work with. Way to go Woody!
WEEKEND TOP 5 STUDIO ESTIMATES, MAY 27-29, 2011

Rank. Movie Title (Distributor)
Weekend Gross | Theaters | Total Gross | Week #

1. The Hangover Part II (Warner Bros.)
$86.5 million | 3,615 | $118.1 million | 1

2. Kung Fu Panda 2 (Paramount (DreamWorks))
$48.0 million | 3,925 | $53.8 million | 1

3. Pirates of the Caribbean: On Stranger Tides (Buena Vista)
$39.3 million | 4,164 | $152.9 million | 2

4. Bridesmaids (Universal)
$16.4 million | 2,958 | $85.0 million | 3

5. Thor (Paramount)
$9.4 million | 3,296 | $159.7 million | 4

Sources boxofficemojo.com and deadline.com

See the original post here: http://www.hollywoodtoday.net/2011/05/29/3d-helps-historical-memorial-weekend-at-box-office-led-by-hangover-2-with-140m/

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Specification for Naming VFX Image Sequences Released

ETC’s VFX Working Group has published a specification for best practices naming image sequences such as plates and comps. File naming is an essential tool for organizing the multitude of frames that are inputs and outputs from the VFX process. Prior to the publication of this specification, each organization had its own naming scheme, requiring custom processes for each partner, which often resulted in confusion and miscommunication.

The new ETC@USC specification focuses primarily on sequences of individual images. The initial use case was VFX plates, typically delivered as OpenEXR or DPX files. However, the team soon realized that the same naming conventions can apply to virtually any image sequence. Consequently, the specification was written to handle a wide array of assets and use cases.

To ensure all requirements are represented, the working group included over 2 dozen participants representing studios, VFX houses, tool creators, creatives and others.  The ETC@USC also worked closely with MovieLabs to ensure that the specification could be integrated as part of their 2030 Vision.

A key design criteria for this specification is compatibility with existing practices.  Chair of the VFX working group, Horst Sarubin of Universal Pictures, said: “Our studio is committed to being at the forefront of designing best industry practices to modernize and simplify workflows, and we believe this white paper succeeded in building a new foundation for tools to transfer files in the most efficient manner.”

This specification is compatible with other initiatives such as the Visual Effects Society (VES) Transfer Specifications. “We wanted to make it as seamless as possible for everyone to adopt this specification,” said working group co-chair and ETC@USC’s Erik Weaver. “To ensure all perspectives were represented we created a team of industry experts familiar with the handling of these materials and collaborated with a number of industry groups.”

“Collaboration between MovieLabs and important industry groups like the ETC is critical to implementing the 2030 Vision,” said Craig Seidel, SVP of MovieLabs. “This specification is a key step in defining the foundations for better software-defined workflows. We look forward to continued partnership with the ETC on implementing other critical elements of the 2030 Vision.”

The specification is available online for anyone to use.

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