News Stories

Flat expectations – 3D films, cinema’s great hope, have become niche products

7.22.2011

From The Economist

[Excerpt]

This lucrative business is now looking flat. Despite rapid growth in digital projectors and 3D-capable screens, the proportion of total box-office spending that goes on 3D has dropped this summer (see chart). Four of the past five 3D blockbusters—“Pirates of the Caribbean”, “Kung Fu Panda 2”, “Green Lantern” and “Harry Potter”—made more money from 2D screens on their opening weekend than from 3D ones. That was true of only one widely released 3D film last summer, and none the year before.

Read the full story here: http://www.economist.com/node/18988914?story_id=18988914&fsrc=rss

5 Current Trends Shaping the Television Industry

7.21.2011

[Excerpts]

1. TV Embraces the Internet

2. The Box Office Pulls People Away From Their TVs

The movie industry has also affected TV consumerism — the rise of 3D movies has pulled consumers away from their sofas and into cinemas, where they can indulge in a highly visual experience for a few bucks more than a regular movie. While 3D TVs exist, they come at a hefty price and don’t yet provide the same level of viewer immersion.

3D technology was touted as the next frontier in the TV industry, but consumers don’t seem to be latching on — in a 2010 study, 83% of survey respondents said 3D technology isn’t enough to make them want to buy a new TV, and nearly one-third of people say 3D doesn’t enhance the viewing experience. It seems that 3D technology is preferred on the big screens of movie theaters and not in one’s home. Just 3% of TV owners own a 3D TV, but there’s not much 3D content out there to keep them entertained. The resistance also can be attributed to the glasses factor: many people find them uncomfortable, inconvenient and, in some cases, nausea-inducing.

 

3. LCD and Flat-Panel Screens Dominate

4. TV Is Going Social

… Interestingly, the most social TV shows are not necessarily the ones with the highest Nielsen rankings — they’re the ones that spur conversation and have super passionate fans. American Idol, Glee and Smallville cracked the top ten, even though they’re all in different echelons of Nielsen ratings. …

5. Advertising Is More Targeted

———-

Demographic Trends and Fun Facts

The Mintel report is littered with interesting tidbits and data gleaned from its survey. Here are some interesting trends and stats:

  • Flat-panel TVs remains most dominant in households with incomes that exceed $100,000. Not surprisingly, this demographic is also more likely to own a TV larger than 50”.
  • Purchasers tend to want the biggest TV screen they can afford, which suggests that size trumps technology and features.
  • Those under 45 or with children are more likely to have a large TV screen.
  • Interest in Netflix is as high among 45-54 year olds as it is among 25-34 year olds.
  • 21% of respondents would pay up to $100 more for an energy-efficient TV.
  • 34% of respondents would like to upgrade at least one TV in the home.
  • 49% of respondents like to have a TV in the bedroom.
  • 18% of respondents like to have a TV in the kitchen.

 

Read the full article here: http://mashable.com/2011/07/20/consumer-trends-tv/

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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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