News Stories

Global 3-D Box Office More Than Doubles in 2010

[Press Release]

Global box-office revenue from 3-D movie screens soared to $6.1 billion in 2010, more than double the $2.5 billion generated in 2009, according to a new IHS Screen Digest Cinema Intelligence report from information and analysis provider IHS.

Of the global 3-D total last year, international territories accounted for $3.9 billion or 63.9 percent of the market, up from 53.8 percent in 2009. The rest of the 3-D movie market, or 36.1 percent, is represented by North America, including the United States and Canada. The United States was the world’s single biggest 3-D market with $2.0 billion in box-office revenue, taking in the largest share at 32.8 percent, down from 42.3 percent in 2009. Overall, global 3-D screens represented 19.3 percent of world box-office receipts in 2010, up from 8.6 percent in 2009.

International 3-D box office revenue surged by nearly a factor of three, up from just $1.4 billion in 2009, driven by a corresponding hike in investment of digital 3-D technology by key international exhibitors, in tandem with the influx in new 3-D movie releases. 

“This run of exceptional growth in international markets has been instrumental in achieving a current worldwide total in excess of 30,000 3-D screens at June 2011, more than double the number at the same point last year. And at least one in four of the world’s screens is now 3-D-capable,” said Charlotte Jones, senior analyst for cinema at IHS. “But despite impressive 3-D screen growth internationally, the global market still is dominated by U.S. releases, which accounted for more than 90 percent of revenue from international 3-D screens.”

Notable International 3-D Markets

Within the international 3-D market, Japan recorded the largest volume from 3-D-only screens and was second-biggest overall after the United States, with gross receipts reaching $471.0 million, IHS estimates indicate. The top 3-D titles in Japan includedAvatarAlice in Wonderland and Toy Story 3, as well as local release Umizaru 3: The Last Message, which made the country’s Top 5 by year-end. 

The United Kingdom was the strongest 3-D market in Europe and third-largest overall, with $427.6 million. France was fourth globally with $364.7 million, followed by Russia at fifth with $336.5 million. Rounding out the 3-D Top 10 last year, in descending order, were China, Germany, Australia, Italy and Canada, as shown in the table attached. 

In Latin America, Brazil was the largest 3-D market, just ahead of Mexico. However, 3-D had higher penetration in two other territories—Colombia with 35.6 percent, also the world’s highest rate; and Argentina with 26.0 percent. In contrast, Norway had the lowest 3-D box-office ratio with 15.8 percent, followed closely by Turkey with 15.9 percent. For the United States, 3-D represented one-fifth of the total U.S. box office. 

The highest premium markups for 3-D tickets in terms of percentage were to be found in China and Mexico, but Mexico had the lowest average ticket prices for 3-D films. 

Of the 25 territories profiled in the report, Slovenia had the smallest 3-D market, valued in 2010 at $3.5 million. 

Learn more about this topic with the IHS Screen Digest Cinema Intelligence Service report entitled “Global 3-D Box Office Doubles.”

See the original press release here: http://www.studiodaily.com/main/news/prc/Global-3-D-Box-Office-More-Than-Doubles-in-2010_13373.html

Number of 3D Mobile Devices Will Surpass 148 Million in 2015

[Press Release]

The implementation of 3D on mobile devices is still in its infancy and requires a much more advanced technical solution for both viewing 3D and capturing 3D. However, the tremendous size of the mobile market is driving the industry to overcome some of the current limitations. 3D displays are still evolving, while image sensors are benefiting from a TAM that is likely to triple by 2015, and the processing solutions are already on a roadmap that will support the increasing demands of 3D. New research from In-Stat (www.in-stat.com) forecasts that the total number of 3D mobile devices will surpass 148 million units in 2015.

“Despite the advances in the technology, adoption of 3D in mobile devices is still likely to be relatively slow due to limitations in content, the potential of eye strain and headaches from viewing 3D content by some, and the additional cost for 3D content and devices,” says Jim McGregor, Chief Technology Strategist. “Although 3D has been around for decades, the current technology is new and advanced. And, as with any new technology, adoption will increase as the ecosystem matures, costs come down, and the ability to capture 3D is combined with innovative mobile applications, which is likely to be in the 2013 to 2015 timeframe.”

Recent research findings include:

  • Nearly 30% of all handheld game consoles will be 3D by 2015.
  • 3D mobile devices will increase demand for image sensors by 130%.
  • In 2012, notebook PCs will be the first 3D enabled mobile device to reach 1 million units.
  • By 2014, 18% of all tablets will be 3D.

Recent In-Stat research, 3D in Mobile Technology: Processors, Image Sensors, and Displays Drive the 3D Experience(#IN1105069SI), is one of the first reports in the industry to discuss the opportunities for 3D in mobile devices (smartphones, handheld game consoles, tablet PCs, notebook PCs, digital photo frames, and portable media players). Additional discussion and data includes:

 

  • Developments in mobile 3D technology
  • Total available market (TAM) for 3D mobile devices
  • Worldwide shipment forecasts
  • Key market drivers and challenges
  • Companies profiles including: Movidius, Myriad, NVIDIA, Qualcomm, Sharp Corpoaration, Texas Instruments

This research is part of In-Stat’s 3-D Content, Devices, and Technologies service, which provides analysis of the market opportunities and competitors in the 3D ecosystem.

See the original post here: http://www.instat.com/press.asp?ID=3232&sku=IN1105069SI

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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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