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3D TV Sales Projections Insight Media study

6.25.2010

Highlights:

  • Total Available Market
    • Internal calculations based on TVs sales and replacement rates, plus household calculations by country reveal a Total Available Market (TAM) for TVs that is within less than 1% of other market research firm’s forecasts
  • Penetration Models
    • Nearly two dozen products examined for best models to use for 3DTV adoption
    • Penetration models used to determine upside (optimistic) and base (conservative) forecast ranges based on historical data
  • Market Development Analysis lists assumptions by year for the following parameters:
    • Packaged Media Titles
    • 3D Theatrical releases
    • Pay Per View events
    • Video on Demand channels
    • Cable / Satellite channels
    • Internet 3D Delivery
    • Terrestrial Broadcast 3D channels
    • Real time & Off-line 2D-to-3D conversion
    • Brand Support
    • 3D Glasses
    • Overall TV trends and strategies
  • Technology Specific Price-Performance-Competitive Analysis
    • Done for RPTV, LCD (x-pol, active retarder, page flipping, autostereoscopic), PDP and OLED
    • Includes assumptions by year for pricing strategy, performance and functionality, brand support, market position, upside and downside potential
  • Consumer Expectations Analysis
    • Based on defining key parameters for consumer buying decision and satisfaction with 3DTV
    • Each parameter is rated by importance and ability to meet the expectations of the consumer.
    • Scatter plot of results indicates areas of concern and opportunity as well as general level of market adoption.
    • Charts created for technology-independent factors in 3DTV adoption and for each 3DTV technology.
    • Charts are created for 2009, 2011, 2013 and 2015 to see progression in market and acceptance conditions
  • Regional and Distribution Factors
    • Limited models in market for a limited time
    • Limited geographic distribution
    • Slower market development factors (like India and underdeveloped rest of world)
  • Final Forecasts
    • Top level
  • Top level by technology
  • Top level by regions
  • Regions by technology

3D product revenue exceeds $55 million

6.25.2010

Port Washington, New York (Vocus/PRWEB ) June 23, 2010 — 3D TV and 3D Blu-ray standalone player revenue in the U.S. has exceeded $55 million in the first three months since the launch of these products in February, according to leading market research company The NPD Group’s Retail Tracking Service.

“3D TV and Blu-ray players are seeing steady growth even as major product line launches are slated for the coming months,” said Ross Rubin, executive director of industry analysis at NPD. As more consumers adopt 3D, the industry can help foster a 3D ecosystem similar to that of HD.”

One inhibitor to adoption of 3D TV at home is the need to wear special glasses when watching 3D TV. These glasses can add significant cost and work only with their brand of television. Only 10 percent of consumers surveyed in The NPD Group’s Analyst Poll of NPD Panelists cited “looking silly” as a main concern of the glasses, whereas 41 percent cited not having enough glasses on hand for everyone watching the set.

“3D TV will be a premium home entertainment experience in 2010,” said Rubin. “Many consumers have already shown that they are willing to use special glasses to obtain the effects, but want to preserve the social aspect of the group television viewing.”

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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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