News Stories

Global 3D biz looks blurry

[Philip Lelyveld comment: these two stories break recent 3D theatrical attendance down by country.]

 

[Variety]

…To some degree, the divergence can be chalked up to a matter of preference — some cultures just like 3D more than others for reasons that can’t be quantified, and big-budget f/x spectacles continue to draw big auds overseas — but there are also some subtle differences in local pricing models that provide insight to studios and exhibitors eager to see 3D pay off on its promise of enhanced B.O. takings.

Some notable factors: Many international markets temper 3D upcharges with discount play periods. China has half-price Tuesdays. In Germany, “Cinema Day” brings a steep midweek price drop to matinees. And some territories even charge less for 3D pics that have shorter running times. In many countries, premium ticket prices for 3D are further mitigated because moviegoers are encouraged to buy their own reusable glasses. …

Read the full story here: http://www.variety.com/article/VR1118041659?refCatId=13

 

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The plot comes from this story and is based on the same data.  The story is here: http://www.dvd-intelligence.com/display-article.php?article=1556

German B.O. buoyed by 3D, local comedy

[Variety]

The German box office achieved its second-highest half-year revenue ever as 3D titles and hit local fare generated stellar ticket sales in the first six months of 2011.  …

While there were considerably more 3D releases in the first half of the year, their market share was down compared with the same period in 2010, which was still seeing plenty of holdover business from “Avatar.”

Theaters sold 12.1 million 3D movie tickets, down from 12.8 million in 2010. The share of admissions for 3D films fell from 21.7% in the first half of 2010 to 19.8% this year. At the same time, distribs rolled out 19 stereoscopic titles, accounting for a 7.3% share of total releases. That was up from only seven 3D releases (3%) in 2010.  …

The average cost of admission in Germany rose slightly to $10.60.  …

Read the full story here: http://www.variety.com/article/VR1118041634?refCatId=13

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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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