News Stories

Journey into the Third Dimension (consumer attitudes on 3D – market research report)

[Press Release]

Ipsos Media CT’s latest cinema audience research shows that in 2010, film-goers were 7 times more likely to see a film in 3D instead of in 2D, but in 2011 the playing field was level. The young lead the 3D market with over 2/3s of under 35s watching 3D films, but just half of over 35s do the same.

 

But these figures mask what looks to be a ‘saturation point’ for 3D. Viewership has been static for a year and taken with the steep fall in satisfaction ratings. Only 29% of 13-17 year olds rated a 3D film as excellent down from 48% in 2010 and only 28% of women aged 18-34 down from 41%. Ratings may have risen amongst men in the same age group, but overall ‘excellent’ ratings dropped from 43% to only 39%.

 

There has been a change in attitude towards ticket costs. Over 54% of people expect to pay an extra £2-3 for a 3D ticket compared with only 40% last year and even better for cinema’s is that 62% of consumers are happy to pay the extra.

 

Although people are willing to pay more, most don’t completely understand what they’re paying for and almost 3 in 5 think it’s for the 3D Glasses rather than the film with 1 in 5 looking for discounts if they bring their own. Targeting families with child-size glasses would get parents into 3D with almost 2 in 5 saying they’d switch to 3D if these glasses were available.

 

Films that were ‘re-released in 3D’ were far less popular than ‘original 3D’ amongst consumers and less than 40% of people said they would pay extra to see one.

 

A spokesperson for Ipsos MediaCT said:

 

“Cinema goers are feeling the financial squeeze just as much as anyone else, 3D does seem to appeal to the younger generation and, a bonus to cinema owners, consumers now expect and will pay a premium for the privilege. Technology alone cannot revive the romanticism of the cinema. 3D films are less popular amongst young women and could end the cliché of teenagers kissing in the back rows. This could be due to a majority of 3D films being action movies proving that the story is still key. A 3D film may look pretty, but it needs substance too if it is to revive cinema’s fortunes.”

 

ENDS

Industry wide cinema audience research programme in the UK and Ireland insights into the position of cinema-going in the wider entertainment space. It is an online quantitative survey a nationally representative sample of 1,700 cinema-goers aged 13-54 with 1,500 in the UK and 200 in Ireland (including parents of 7-12s). All go at least 2+ times a year.

 

Core findings from the survey can be found in the attached slides.

[Philip Lelyveld comment: this information was emailed to me by Ashish Prashar, Head of Media Relations – Ipsos MORI.  I will supply the slides to you upon request.]

RealD and SHIMAO Cinema to Equip 100 Screens Across China with RealD 3D Technology

“As of June 24, 2011, RealD has deployed its 3D technology on an industry leading over 17,500 theatre screens in approximately 60 countries around the world.”

[Press Release]

RealD Inc., a leading global licensor of 3D technologies, and SHIMAO Cinema Investment Company Limited (SHIMAO Cinema), announced today an agreement to install RealD 3D technology on 100 cinema screens across the SHIMAO Cinema circuit in China. The 100 screens are part of an initial deployment phase with an option to increase the number of RealD 3D installations. SHIMAO Cinemas expects to grow their circuit over the next five years to 60 theatre locations totaling 500 screens, most of which are expected to incorporate RealD 3D technology. This agreement brings the total number of cinema screens in China committed to RealD 3D technology to 1,000 with approximately 400 installations to-date.

“This is an exciting time for 3D in the burgeoning Chinese cinema market where some recent films have delivered up to 80% of their total box office from 3D showings,” said Edman Chan, RealD’s General Manager of Greater China, Southeast Asia and Korea for Cinema. “This agreement will help to insure the premium RealD 3D experience is accessible to a broader number of moviegoers in China.”

“RealD’s cutting-edge 3D technology provides the highest brightness in the industry for a comfortable 3D viewing effect,” said Liu Ming, General Manager of SHIMAO Cinema. “In addition, RealD’s passive 3D glasses are lightweight and low cost, and allow for a wide selection of clip-on lenses and personalized models for the young and fashionable mainstream movie-going community to choose from.”

As of June 24, 2011, RealD has deployed its 3D technology on an industry leading over 17,500 theatre screens in approximately 60 countries around the world.

See the original post here: http://www.marketwatch.com/story/reald-and-shimao-cinema-to-equip-100-screens-across-china-with-reald-3d-technology-2011-09-08

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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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