News Stories

Can Sports Save 3D TV?

The extra dimension enhances viewing experience in a way that’s difficult to describe but easy to feel.

[By Swanni, TV Predictions.com]

From Wall Street analysts to Hollywood producers, there’s a growing call for the studios to dramatically reduce the number of 3D movies. Industry officials are pointing out that 3D box office revenues are continuing to fall with many consumers opting to attend the film’s less expensive 2D version.

I believe there’s a little too much 3D right now. I think, especially in this economy, parents don’t always want to spend that extra money,” Lauren Donner, producer of X-Men: First Classrecently told an industry conference.

Since the remarkable success of the 3D Avatar in late 2009, the studios have bet that moviegoers would pay a premium for 3D films. (The 3D edition is priced anywhere from 20-45 percent more than the 2D version.) But movies from Pirates of the Caribbean 4 to Kung Fu Panda 2 are generating less than 50 percent of their overall revenue from the 3D versions; a year ago, 3D films were taking in 60 percent or more from the 3D editions.

The disappointing numbers are being felt hard by the studios and 3D-related companies. For instance, Dream Works’ stock fell about 10 percent shortly after it released the 3D Kung Fu Panda 2 while 3D production company RealD saw its stock fall as well.

You might say that the quick solution would be for the studios to lower the price of 3D films. But surveys indicate that Americans may be losing interest in 3D movies as a category regardless of the price due to the need to wear 3D glasses during the film, among other reasons.

The studios are planning to roll out more 3D films this summer and fall, including the third installment in the Transformers series. But if the results don’t dramatically improve, it’s not hard to envision a scenario in which the studios soon start limiting 3D films to animated children’s films. And if they don’t do well, it’s possible that a majority of studios will decide to get out of 3D entirely by 2012.

That would be a major blow for 3D TV makers who have bravely maintained that disappointing 3D TV sales will improve once more 3D movies are released on Blu-ray. If Hollywood begins to dry up the 3D movie pipeline, the only reason to buy a 3D TV would be to watch sports in 3D.

But is that enough?

Even 3D doubters, including yours truly, acknowledge that watching a game in 3D can occasionally be thrilling. The extra dimension can enhance your viewing experience in a way that’s difficult to describe but easy to feel.

However, the special nature of watching sports in 3D is usually fleeting; there might be a moment every 30 minutes or so when you go, “Wow, that player looked like he was going to jump in my living room.” But that can get old — and so can wearing those 3D glasses during a three-hour sporting event. Even 3D TV makers caution that you should take the glasses off every 15 minutes or so to avoid headaches and other physical ailments.

So the answer to the question at the top of this article is probably no. Sports alone can not save 3D TV.

Consequently, 3D TV makers better hope that 3D movies do better — much better — in the second half of 2011. If they don’t, the 3D TV “revolution” could be over before it really got started.

See the original post here: http://www.tvpredictions.com/3dsports060511.htm

Disney Unwraps The Nightmare Before Christmas Blu-ray 3D This August

[By Rachel Cericola, Big Picture Big Sound]

The holidays seem to start earlier every year. In 2011, Christmas will come in August — Tim Burton’s The Nightmare Before Christmas, that is. Disney just announced plans to release the classic, creepy title on Blu-ray 3D on August 30, 2011.

This all-new 3D presentation will come packed in a 3-disc Combo Pack, which will include the Blu-ray 3D disc, a 2D Blu-ray, and a standard-def DVD/Digital Copy hybrid disc. The film will also be available as a 3D movie download for compatible devices. 

Tim Burton’s The Nightmare Before Christmas
blends together stop-motion animation and a 3D backdrop, as well as both Halloween and Christmas. It follows the adventures of Jack Skellington (dual voiced by Chris Sarandon and Danny Elfman), who decides to shake things up by kidnapping Santa Claus and taking on his gift-delivering duties. It’s produced by the legendary Tim Burton and directed Henry Selick, who also put his trademark stamp on the equally creepy Coraline and James and the Giant Peach. The film’s other famous voices include Catherine O’Hara, and Paul “Pee Wee Herman” Reubens.

 

The set appears to be loaded with extras, which includes an introduction by Burton, as well as an uncut version of his short (and soon-to-be feature-length) film Frankenweenie. Other extras include the short film Vincent, deleted scenes, a storyboard-to-film comparison, trailers and posters. There’s also a bit with actor Christopher Lee reading an original Tim Burton poem, as well as a commentary track with Burton, Selick and Elfman. Also look for a making-of featurette, a peek at “The Worlds of Tim Burton’s The Nightmare Before Christmas,” and an interactive tour of Disneyland’s Holiday Haunted Mansion.

Disney’s The Nightmare Before Christmas 3-Disc Combo Pack has an MSRP of $49.99. We’re expecting Amazon to start taking preorders soon.

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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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