News Stories

Global 3D Box Office More Than Doubled in 2010

by Alex Ben Block, The Hollywood Reporter

[Excerpt]

Overall, 3D made up 19.3% of the global box office, up from 8.6% in 2009.

Worldwide box office revenue from 3D screens more than doubled last year to $6.1 billion, up from $2.5 billion in 2009, reflecting the increase in the number of 3D releases and the rapid build out of 3D screen in theaters.

Overall 3D now makes up 19.3% of the global box office, up from 8.6% in 2009.

North America accounted for 36.1% of tickets sold for 3D movies, down from 42.3% in 2009,  while the rest of the world made up the other 69.3%, up from 53.8% in 2009.

The U.S. was the largest single 3D market with gross ticket sales of $2 billion.

The biggest growth was in 3D international box office which tripled in a year, going from $1.4 billion in 2009 to $3.9 billion.

“This run of exceptional growth in international markets has been instrumental in achieving a current worldwide total in excess of 30,000 3D 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.  …

German TV Buyers Value Image Quality & Screen Size Over 3D & Internet

[Excerpt]

…  A recent report has revealed that German consumers who purchase flat-panel televisions are more concerned about the image quality and screen size of the HDTV sets that they are buying than they are with advanced features such as 3D capability or internet connectivity. These new technologies are said to be relatively insignificant for German buyers when it comes to the features they are looking for when upgrading their TVs.  …

The data comes from the Global TV Replacement Study published by California-based market research firm DisplaySearch…

In the latest survey that was carried out, less than 1% of those polled cited 3D as the reason behind upgrading their televisions, whereas only 1% said that internet connectivity compelled them to upgrade. However, in other regions such as East Asia, 3D technology was a bigger driver for TV upgrades among consumers.  …

Read the full story here: http://www.hdtvtest.co.uk/news/german-image-quality-3d-201108111347.htm

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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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