News Stories

Hollywood is getting nervous as audiences grow weary of new 3-D films

[by Michael Grotticelli, Broadcast Engineering]

From this May to September — the typical summer movie season — American motion picture studios will release 16 movies in the 3-D format. That’s more than double the number last year.

From their financial performance so far, movie executives are running scared.

Next up are the most anticipated summer releases. “Transformers: Dark of the Moon” is due from Paramount Studios on July 1, and then, two weeks later, comes Part 2 of Part 7 of the “Harry Potter” series from Warner Brothers. The performance of these two films will go a long way in determining whether 3-D movies are boom or bust for the summer.

So far, things are looking bad. Ripples of fear spread across Hollywood after “Pirates of the Caribbean: On Stranger Tides,” which cost Walt Disney Studios an estimated $400 million to make and market, did poor 3-D business in North America.

Event movies have typically done 60 percent of their business in 3-D. However, “Stranger Tides” sold just 47 percent in 3-D. “The American consumer is rejecting 3D,” Richard Greenfield, an analyst at the financial services company BTIG, wrote of the “Stranger Tides” results.

The Memorial Day holiday did not give studio chiefs much 3-D comfort. “Kung Fu Panda 2,” a Paramount Pictures release of a DreamWorks Animation film, sold $53.8 million in tickets from Thursday to Sunday, a soft total, and 3-D was only 45 percent of the business.

Consumer rebellion over high 3-D ticket prices plays a role, and the novelty of putting on the 3-D glasses is wearing off, analysts told the New York Times. However, there is a deeper problem. While 3-D has provided an enormous boost to the strongest films such as “Avatar” and “Alice in Wonderland,” it has actually undercut lesser quality films that are trying to milk the format for extra dollars.

“Audiences are very smart,” Greg Foster, the president of Imax Filmed Entertainment, told the Times. “When they smell something aspiring to be more than it is, they catch on very quickly.”

Clouding the picture is a discrepancy between the performance of 3-D films in North America and overseas. 3-D is doing very well internationally. Disney’s “Stranger Tides,” for example, did about $256 million in box office abroad, becoming the biggest international debut of all time.

Hollywood, however, needs the American market for overall success, and the situation at the moment is dire. Box office performance in the first six months of 2011 was soft. Revenue fell about 9 percent compared with last year, while movie attendance was down 10 percent.

This comes along with equally poor performance for home entertainment sales. In all formats, including paid streaming and DVDs, home entertainment revenue fell almost 10 percent, according to figures from the Digital Entertainment Group.

Studio executives acknowledge that the motion picture industry needs to sort out its 3-D production strategy, which may lead to a cut-back in 3-D features for release.

“With a blockbuster-filled holiday weekend skewing heavily toward 2-D, and 3-D ticket sales dramatically underperforming relative to screen allocation, major studios will hopefully begin to rethink their 3-D rollout plans for the rest of the year and 2012,” Greenfield told the newspaper.

See the original post here: http://blog.broadcastengineering.com/3-D/2011/06/27/hollywood’s-getting-nervous-as-audiences-grows-weary-of-new-3-d-films/

Report: Nintendo 3DS interest drops 27%

[by Kevin McGuire, Philidelphia Video Game Examiner]

Nintendo 3DS has failed to live up to the expectations according to an independent report, as interest in the portable 3D gaming device has dropped 27% since last year.

Entertainment research firm Interpret released their Q1 2011 3D Entertainment report and showed that the 3D market for the 3DS paled in comparison to the 3D market for other entertainment.

“The lack of sales for the 3DS does not reflect the overall interest in 3D gaming,” said Michael Cai, Interpret VP of Games and Technology. “Instead, it illustrates that Nintendo put the cart before the horse; that is, they released the hardware without the necessary software to engender robust sales. Our data shows that gamers want the Nintendo franchise games – Super Mario Brothers, Zelda, etc – but without them, the 3DS will continue to flounder.”

The good news for Nintendo is that those core franchises are starting to filter their way on to the 3DS. The 3D port of the classic Nintendo 64 title, The Legend of Zelda: Ocarina of Time 3D, was released this month and is being well received even if it is not a brand new game. An original Super Mario game will be released on the 3DS during the 2011 holiday season, and when a Mario game is released on a Nintendo system the overall sales tend to swing upward.

At the E3 conference earlier in June Nintendo showcased a strong lineup of future titles for the 3DS. In addition to the Zelda and Mario titles, Nintendo also announced an updated Star Fox game, a Mario Kart addition, a new Kid Icarus title and a sequel to the GameCube’s Luigi’s Mansion. The release of these titles in addition to the already released Zelda title and upcoming Mario title figure to help Nintendo turn around the 3DS outlook.

See the original post here: http://www.examiner.com/video-game-in-philadelphia/report-nintendo-3ds-interest-drops-27

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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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