[Philip Lelyveld comment: this appears to be the DigDia Jan. 2011 report being remarketed]
2010 was the big coming out party for 3D. Hot on the heals of Avatar, just about everyone was eager to offer movies, consumer electronics, services and television content in 3D.
Now that 2010 is over, some pundits are now saying that 3D has been a disappointment. 3D movie reviewers find it easy to bad mouth some titles. 3D TV hasn’t taken off like some thought it would. Glasses are expensive and cumbersome, and there isn’t much 3D programming to watch.
But, none of this is a surprise for many in the industry. 3D was overhyped at the 2010 CES. The inevitable bad movies were converted to 3D. Standards were not all in place. The industry was caught a little by surprise. All of this was to be expected, and many predicted it would happen.
Remember, 3D didn’t really start in movies until 2005 and 3D TV didn’t start until mid-2010. Look at the chart above – the number of 3D movie titles is still growing at an incredible rate.
In the meantime, efforts to make 3D better and more complete are happening on all fronts, from movies, to equipment and tools, to devices, to content and services. An explosion of 3D in just about every product category imagined was on evidence at CES 2011.
But, opportunities to improve just about every element of the ecosystem still exist, if you know how things work. This is true, even for 3D TVs, which are now on their 3rd generation.
This report covers the complete 3D ecosystem. It talks about the market, the vendors, the technology, the products, the content and the services. Along the way, several areas of opportunity are mentioned or are made obvious.
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Title Index:
1 Introduction
2 Digital Cinema Overview
3 Digital 3-D Movie Market
3.1 Why Now and Will it Succeed?
3.1.1 The Money
3.1.2 The Experience
3.2 3D Titles
3.3 How Many 3D Screens are Needed?
3.4 Number of 3D Screens
3.5 Theater Economics
3.6 Distributor Economics
3.7 Video
3.7.1 Windows
3.7.2 Premium TV
3.8 Games
4 Digital 3D Content Creation
4.1 Production
4.1.1 Story Telling
4.1.2 Depth Script
4.1.3 Toe in – Toe out
4.1.4 Vergence Accommodation Conflict
4.1.5 Depth Budget
4.1.6 Exaggerated Depth
4.1.7 Camera Convergence
4.1.8 Parallel Cameras
4.1.9 Safe Area
4.1.10 False Perspective Problem
4.1.11 Breaking the Frame
4.1.12 Animation and CGI
4.1.13 Cameras
4.1.14 Camera Issues
4.2 Postproduction
4.2.1 Issues to deal with
4.2.2 Ghost busting
4.2.3 Editing and Digital Intermediate
4.2.4 A missing tool
4.2.5 Dimensionalization
4.2.6 Captioning
4.2.7 File Formats
5 Digital 3D Exhibition
5.1 Triple Flash
5.2 3D Projection Technologies
5.3 Image Brightness
5.4 3D Server
5.5 Live 3D Alternative Content
5.6 The Screen and Dead Seats
6 Home viewing
6.1 3D Standards and Groups
6.1.1 3D Home Master
6.1.2 HDMI 1.4
6.1.3 DVB
6.1.4 CableLabs
6.1.5 CEA
6.1.6 3D@Home
6.2 3D Televisions and Displays
6.2.1 3D Ready Televisions
6.2.2 Autostereoscopic Displays
6.2.3 Other 3D Consumer Displays
6.3 Consumer 3D Format Wars
6.3.1 Full Resolution, Full Frame Rate
6.3.2 Anaglyph
6.3.3 Spacial Compression or Frame Compatible
6.3.4 Temporal Compression, Frame Sequential, Page Flip
6.3.5 2D + Delta or metadata
6.3.6 2D plus Depth
6.3.7 Selective 3D
6.4 Codecs
6.5 Other issues
6.5.1 Display Size Adjustment
6.5.2 2D to 3D Real Time Conversion
6.5.3 Consumer 3D Glasses
6.5.4 Ghost busting
6.5.5 Commercials
6.5.6 Porn
6.6 Media & Content
6.6.1 TV Content
6.6.2 Blu-ray
6.6.3 DVD
6.6.4 Cable Services
6.6.5 Satellite
6.6.6 Over the Air
6.6.7 Internet
6.6.8 Mobile
7 Appendix
7.1 Glossary
7.2 SMPTE Standards Index
7.4 Organizations
7.5 Books
7.6 Publications
7.7 Conferences
Figures
Figure 1 – Number of 3D Feature Movies by Year
Figure 2 – Digital Cinema Ecosystem Overview
Figure 3 – Production & Postproduction workflow
Figure 4 – Distribution and Theater Workflow
Figure 5 – Live 3D event poster
Figure 6 – Growth of 3D Screens major titles have opened with
Figure 7 – 3D Genres Percentages
Figure 8 – Total Number of Screens by Theater Chain Rank
Figure 9 – Simulated Number of 3D Screens Needed
Figure 10 – Growth in 3D Screens Worldwide (2006 – 2009)
Figure 11 – Worldwide Market Share of Major Digital 3D Vendors
Figure 12 – Percentage of 3D Screens Installed in N.A., Europe, Asia/ROW
Figure 13 – Digital Cinema Screens by Region, 2005 – 2009
Figure 14 – Projection of Digital Cinema Screens by Region
Figure 15 – Projection of 3D Screen Count by Region
Figure 16 – How VPF Money Flows
Figure 17 – Release Windows
Figure 18 – Average Theater to DVD Window vs. Domestic Theater Gross
Figure 19 – Theatrical to DVD Window from 2000 to 2008
Figure 20 – Percent of Box Office Take by Week After Release
Figure 21 – Timeline of Studio agreements with Premium TV
Figure 22 – Depth Script
Figure 23 – Transitioned Depth
Figure 24 – Eye’s Parallax
Figure 25 – Parallax relative to the screen
Figure 26 – Percival’s Zone
Figure 27 – Distance from Screen vs. Disparity
Figure 28 – A Depth Budget rule of thumb
Figure 29 – Trench binoculars for exaggerated depth
Figure 30 – Virtual camera placement when zoomed in
Figure 31 – Keystoning
Figure 32 – Camera convergence and where infinity appears in theater
Figure 33 – Safe Area
Figure 34 – False perspective used in Lord of the Rings
Figure 35 – False Perspective
Figure 36 – What Left and Right Eye see
Figure 37 – Floating Window
Figure 38 – 3D camera used for Creature from the Black Lagoon
Figure 39 – DepthQ 3D Camera Rig
Figure 40 – 21st Century 3D cameras
Figure 41 – NHK Technical Services camera
Figure 42 – 3D camera with adjustable intraocular
Figure 43 – Pace HD Fusion
Figure 44 – 3ality camera (side view)
Figure 45 – 3ality looking into the beam splitter
Figure 46 – Convergence and Interocular controls
Figure 47 – Silicon Imaging SI-2K Mini
Figure 48 – Iconix HD-RH1
Figure 49 – Concept Panasonic 3d Camera
Figure 50 – Kruno Mav Rig
Figure 51 – Thomson camera for Depth Mapping
Figure 52 – 3D Holographic Camera
Figure 53 – Real-time Holographic Video Display
Figure 54 – Ghosts
Figure 55 – Ghost busting
Figure 56 – Quantel Pablo 3D station
Figure 57 – Filmlight’s Baselight DI station operating on a 3D clip
Figure 58 – DVS 3D output selection menu
Figure 59 – Dimensionalizing requires creating hidden images
Figure 60 – Triple Flash
Figure 61 – Z Screen
polarizer and Christie projector
Figure 62 – An alternative polarization system
Figure 63 – Polarized glasses
Figure 64 – 2nd Generation Active glasses from XpanD
Figure 65 – Color Shifting
Figure 66 – Dolby glasses
Figure 67 – Inside of the projector where filter wheel goes
Figure 68 – Closeup of Dolby color shift wheel
Figure 69 – Sony 4K projector with RealD
Figure 70 – RealD XL System improves brightness
Figure 71 – RealD XL on a Christie Projector
Figure 72 – Stacked Projectors
Figure 73 – 3D Alignment Frame
Figure 74 – Doremi DCP-2000 Digital Cinema Server
Figure 75 – Dolby Digital Cinema products
Figure 76 – Dolby screenshot of playlist control
Figure 77 – QuVIS Cinema Player
Figure 78 – GDC Tech Digital Film Server
Figure 79 – Sony Media Block
Figure 80 – Qube servers and control panel
Figure 81 – Kodak Content Player
Figure 82 – DTS Digital Cinema FilmStore
Figure 83 – NEC Server
Figure 84 – XDC CineStore Solo G3
Figure 85 – XDC touchscreen
Figure 86 – Electrosonic Player
Figure 87 – DVC Player
Figure 88 – Digital Cinema Servers
Figure 89 – Diagram of how Live 3D Sports works
Figure 90 – Screen gain
Figure 91 – Keystone perception issue
Figure 92 – Dead seats
Figure 93 – Hannah Montana 3D Glasses from Wal-Mart
Figure 94 – 3D standards in the value chain
Figure 95 – Side-by-Side with Passive Glasses
Figure 96 – Not all anaglyph are the same
Figure 97 – Samsung 3D glasses
Figure 98 – Lenticular Lens
Figure 99 – nVidia glasses and emitter
Figure 100 – 3D Picture Frame
Figure 101 – Parallax Barrier
Figure 102 – Consumer 3D Camera
Figure 103 – SLR 3D Lens
Figure 104 – 3D for the iPhone
Figure 105 – 3D Mobile Phone in Japan
Figure 106 – Two-layer LCD 3D
Figure 107 – Sony 3D Glasses
Figure 108 – 3D Glasses for immersive game play
Figure 109 – 3D Mobile TV
Figure 110 – 3D Portable Gaming
Figure 111 – Various 3D Data Formats
Figure 112 – 3:2 and 2:3:3:2 Pulldown
Figure 113 – Examples of new 3D glasses fashion
Figure 114 – Sisvel 3D glasses sensor
Tables
Table 1 – 3D screen box office multiplier over 2D
Table 2 – 2005 to 2007 Digital 3D Movies/Events and Comments
Table 3 – 2008 Digital 3D Movies/Events and Comments
Table 4 – 2009 Digital 3D Movies/Events and Comments
Table 5 – 2009 Digital 3D Movies/Events and Comments (Cont.)
Table 6 – 2010 Planned Digital 3D Titles
Table 7 – 2010 Planned Digital 3D Titles (Cont.)
Table 8 – 2011 3D Titles
Table 9 – 2011 and later Planned 3D Titles
Table 10 – 3D Cameras and Production
Table 11 – 3D Editing and Digital Intermediate
Table 12 – Stereoscopic 3D theater systems
Table 13 – 3D Technologies Comparison
Table 14 – 3D Technologies Comparison (cont.)
Table 15 – 3D Television Vendors and Technology employed
Table 16 – Digital Signage 3D Display Companies
Table 17 – 3D Codec Vendors
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