News Stories

Marchon3D Inks Deal with MasterImage 3D to Become Premium 3D Eyewear Provider

6.29.2011

[Philip Lelyveld comment: both Marchon3D and MasterImage 3D support the ETC Consumer 3D Experience Lab]

[by PR Newswire]

Marchon3D to Provide 3D Eyewear Exclusively to MasterImage 3D Theaters; Deal Further Solidifies Marchon3D in European and Asian Marketplace


Theater-goers in Asia and Europe no longer have to wait for the most technologically-advanced 3D glasses on the market to watch their favorite 3D movies.

Marchon3D™, a division of Marchon Eyewear, is continuing to expand its international reach by signing a distribution agreement with MasterImage 3D, a leading provider of next-generation 3D solutions and systems, to provide premium 3D eyewear. The partnership will consist of a pan-European and Asian rollout of “in-theater” displays and vending machines featuring the patented EX3D line of glasses.

MasterImage 3D has digital 3D cinema systems in over 60 countries around the world and offers audiences the clearest, sharpest 3D experience while providing exhibitors with a compelling ownership-based pricing model.  The MasterImage MI-2100 digital 3D cinema system offers high-quality presentation, single-or multi-use eyewear, is easily portable between screens. The MasterImage MI-1000 glass filters are universal and work optimally with MasterImage 3D glasses for oversized screen installations.

EX3D is Marchon3D’s line of circular polarized 3D glasses retailing for euro 20-60 for the theater and retail channel.

“Theaters in Europe and Asia are fundamentally different from those theater chains in the United States,” said David Johnson, President of Marchon3D. “MasterImage 3D, has offices all over the world, and very strong relationships with independent theater owners. Partnering with them will ensure the marriage of best-in-class 3D projection with best-in-class 3D glasses.”

This is an exclusive renewable contract that includes full sales and marketing support to promoting the EX3D line in theaters.

“Marchon3D is a world-class designer and distributor of luxury eyewear.  We are very excited to partner with such a distinguished brand,” said Peter Koplik, President Digital Cinema, MasterImage 3D.  “The EX3D offers movie-goers a premium option as they frequent theaters with MasterImage 3D systems.”

See the original post here: http://www.prnewswire.com/news-releases/marchon3d-inks-deal-with-masterimage-3d-to-become-premium-3d-eyewear-provider-124697773.html

Texas Instruments DLP Cinema Will Celebrate 15 Years Of Leadership In Digital Displays Worldwide At CineEurope 2011

6.29.2011

DLP Cinema lights up CineEurope 2011, bringing the brightest and most reliable digital picture possible to over 40,000 screens worldwide

After 15 years of proven digital deployments all over the world and an unprecedented year of growth and success in 2010, Texas Instruments (TI) DLP has strengthened its leadership to become the leader in installations, brightness and reliability. TI DLP Cinema will be present once again at CineEurope, the European convention and trade show dedicated to the needs of the cinema industry.
DLP Cinema, the worldwide leader in installations:
DLP Cinema technology continues to dominate worldwide the 2D/3D digital cinema industry as the following figures evidence: Today, over 40,000 screens worldwide rely on DLP Cinema technology to light up screens for millions of moviegoers, with more than 8 out of 10 digital theatre screens worldwide using DLP Cinema technology. In other words, DLP technology has reached 85% market share worldwide as of June 2011.
Europe has one of the highest growth rates regarding the number of DLP Cinema digital screens: From January 2010 to June 2011, the number of screens increased by 187% to reach a total of over 13,550 screens. Among them, over 9,100 are 3D screens, which ranks Europe as the second largest region for 3D screens in the world, representing around 33% of 3D screens worldwide. In Europe, the number of 3D screens increased during this time period to an annual rate of 163%. For France, the leading European country in number of digital screens increased 169% from 975 in 2010 to 2,626 in June 2011 – and 3D screens increased by 149% from 2010 to 2011.
Drew Kaza, Executive Vice President of Digital Development for Europe’s leading exhibitor chain, Odeon & UCI Cinemas Ltd., shared the following sentiments, “Our conversion to digital cinema is going extremely well with a majority of our screens in the UK, Austria, Germany, Italy, Portugal, and Spain already up and running with digital 3D. We selected digital projectors with TI’s DLP Cinema technology, and since the reliability and support has been excellent, we are ramping installation to have our entire circuit converted by 2013.”
DLP Cinema, the brightest and preferred digital cinema technology:
One of the highlights at this year’s CineEurope is James Cameron showing a new screening of Titanic in 3D on a DLP Cinema system, enhanced with Dolby’s 3D technology – one of the five 3D systems available worldwide, which are all compatible with DLP Cinema technology. The industry selects DLP Cinema for its brightness, which is a crucial qualitative element, especially for captivating and immersive 3D projections. Recently, the DLP Cinema-powered Barco DP2K-32B was awarded the Guinness World Book of records as the brightest projector on the planet, achieving 43,000 lumens. Ultimately, DLP Cinema technology remains the number one choice for illuminating the world’s largest screens.
DLP Cinema, the most reliable digital cinema technology:
Touting award-winning color performance, DLP Cinema is the only imaging technology to receive an Academy Scientific and Engineering Award (Academy Plaque in 2009) for precise color reproduction, and has become the industry standard for color accuracy. In addition, all subcomponents for DLP Cinema’s 2K and 4K platforms were the industry’s first DCI-approved digital cinema projector technology.
“DLP Cinema’s continued worldwide leadership in the 2D/3D digital cinema space provides theatre owners, studios, and, most important, moviegoers with an experience that simply cannot be equaled,” said Dave Duncan, Business Manager of DLP Cinema for Texas Instruments. “2010 was clearly an amazing year for DLP Cinema. Although the digital conversion was steady for the first 10 years, 2010 will be noted as a milestone in digital cinema history, as the number of DLP Cinema projectors nearly doubled in one year. This decade looks extremely bright for DLP Cinema and its licensees. Together with our partners, nearly one-half of the world’s theatre screens will be converted to DLP Cinema by the end of 2011.”
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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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