News Stories

Slow uptake for 3D TV

11.18.2011

[The Australian]

BY the end of next year most TVs will have 3D capability but viewer use of the medium remains low.

What was a top of the market feature when 3D TV launched in Australia back in 2010, has fast become just another tick box on the spec list.

LG Australia marketing manager Tim Barnes says about 50 per cent of his company’s model range is 3D capable but expects just about all LG sets to have 3D by the end of next year.

Prices for 3D sets have come down dramatically this year after kicking off in 2010 at north of three thousand dollars. The list price of LG’s cheapest 42 inch 3D set is $1149 and a quick look at mass retailer websites reveals plenty of 3D sets selling well under $1000.

Mr Barnes said about a third of LG’s TV sales through 2011 were of 3D capable sets but conceded that owners still don’t spend a lot of their viewing time watching content in 3D. Current estimates put the 3D view rate at somewhere between 10 and 20 per cent.

Mr Barnes believes new 2D to 3D conversion technology arriving in the latest sets will help lift the viewing rate. Early 2D to 3D conversion was underwhelming and after the breakthrough 3D title Avatar there has been a dearth of quality material although many games these days employ 3D with varying success and both still and video 3D cameras have become available.

Read the original post here: http://www.theaustralian.com.au/australian-it/exec-tech/slow-uptake-for-3d-tv/story-e6frgazf-1226198468868

Digital and 3D cinema market trends in Europe Q3 2011 (Screen Digest)

11.16.2011

[Screen Digest Research Report]

Over 2,000 digital screens were installed across Europe in the period July to end September 2011 bringing the active digital screen base to over 16,000 as at Q3 2011. It was also the second consecutive quarter more 2D screens were installed than 3D, as the wider 2D digital roll-out continues to provide stronger growth in the overall digital context throughout Europe. Average digital screen penetration hit 45 per cent in total Europe as at Q3 2011, up from 40 per cent just three months prior with high levels of activity reported in both Western and C E European territories. In fact, four of the top ten territories with the highest total of Q3 net installations were located in C E Europe.

Over 2,000 digital screens were installed across Europe in the period July to end September 2011 bringing the active digital screen base to over 16,000 in Q3 2011. It was also the second consecutive quarter more 2D screens were installed than 3D, as the wider 2D digital roll-out continues to provide stronger growth in the overall digital context. Digital conversion rates in the top five W Europe continue to spearhead the drive, accounting for the vast majority or over 75 per cent of the European digital screen total. However, there are also signs that several C E European territories are also experiencing a surge in activity, as four of the top ten territories with the highest total of Q3 net installations were located here.

Average digital screen penetration reached 45 per cent across total Europe in Q3 2011 a sharp increase since the 40 per cent average penetration rate recorded just three months prior. There are now 11 territories with majority of screens digitised, including for the first time Finland and Poland in Q3. Poland became only the second territory in CE Europe to achieve majority digital status.

Highlights:

Total digital screens in Europe increased 15.0 per cent to exceed a 16,000 screen threshold in Q3 2011
France now exceeds 3,000 digital screens
Six territories record over 100 net screens in Q3 alone
3D screens hit over 10,000 in Europe
Average digital screen penetration by territory now in the region of 45 per cent
A total of 31 major exhibition circuits in Europe have reached over 70 per cent digital capacity

In this report:

Just over 16,000 digital screens now active in Europe
New record for net installations in UK, Germany and Poland
2D screens continue to proliferate widely over 3D in Q3
Digital screen penetration hits an average 45 per cent in Europe
French market exceeds 3,000 digital screens
UK hits 65 per cent of screens converted to digital
Cinemaxx leads digital race of top three circuits in Germany
Yelmo completes full digital upgrade in Spain
Space Cinema reaches 70 per cent digital milestone
D-cinema round up Q3 2011
Pan-European circuits spearheading digital drive

Tables and charts included:

Cumulative d-screen deployment in Europe (Q3 2009-Q3 2011)
D-screen deployment in top five European territories by quarter (Q3 2009-Q3 2011)
Net digital installations ranked by territory Q3 2011
Digital screens split by 2D and 3D capability in W Europe (Q3 2009-Q3 2011)
Ranking of territories in Europe by digital screen penetration Q3 2011
Market share of 3D formats in France
Digital Exhibitor Profiles: France
Market share of 3D formats in UK
Digital Exhibitor Profiles: UK
Market share of 3D formats in Germany
Digital Exhibitor Profiles: Germany
Market share of 3D formats in Spain
Digital Exhibitor Profiles: Spain
Market share of 3D formats in Italy
Digital Exhibitor Profiles: Italy
Digital progress of pan-European circuits Q3 2011
Leading circuits by digital conversion rates Q3 2011

Pages: 14

Tables & charts: 18

See the original post here: http://www.screendigest.com/reports/2011109a/2011_11_digital_and_3d_cinema_market_trends_in_europe_q3_2011/view.html

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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