Interview with Ed Meyer, Founder of FilmCompletion.com and Adirondack International Pictures

Ed Meyer is the guy who is bringing us Horrorween in 3-D. Ed is a Harvard graduate and was one of the original producer of Paramount's Entertainment Tonight. He designed the special effects for the Broadway play "The Wiz" and has directed shows a Radio City Music Hall. Ed specializes though in writing and directing - he directed some of the first "Multiplex Holograms" in the 1970s. He is also known for being a top flight pyrotechnician (he must have gotten a laugh from my recent Outlander blooper post!). But the primary reason I wanted an interview with him is his undeniable passion for the 3-D movie industry and how he is helping to effect change in Hollywood. Read my notes at the conclusion about coming technology to eliminate the need for 3-D glasses to view 3-D movies!

MarketSaw: Have you seen Beowulf yet? What were you thoughts?

EM: No. I rarely watch movies. Everyone in Hollywood, including my garbage man has a script that he/she has written, and which they claim is the next blockbuster. What we are producing in Hollywood today are not movies, they are crap! The great movies were made in Three Strip Technicolor and 70mm. We have lost sight of the craft. I am happy however, that "Special Format Cinema" is coming back, especially 3-D. Note that I have correctly spelled 3-D, as when it is applied to film it is never spelled 3D.

MarketSaw: Can you elaborate further on 70mm widescreen? Just what is developing here? I thought that the way Ben Hur was filmed was awesome.

EM: If you don't know how to shoot 70mm widescreen, then don't attempt 3-D. 70mm widescreen, whether 2-D or 3-D is the true cinema format. To be immersed in cinema, 70mm 2-D or better yet 70mm 3-D is required.

4K HD is really an absolute joke, as compared to the 300K resolution of 35mm film, not to mention the exponential higher resolutions of 65mm / 70mm film. However, we are in a world of dollars and cents budgets.

In terms of getting 3-D out to the masses, IMAX (15 perf. x 70mm) is a great promotional help to 3-D, as IMAX is the most perfect business model, as they don't even have to sell a single ticket to be profitable. IMAX theaters and films are majorly financed by grants from little old rich ladies' foundations, kind of how PBS survives.

Whether 2-D or 3-D, the key is to get the most information (pixels) onto the screen, with the most lumens, and least lumen loss. That is why Real-D is now increasing the lumens, and why silver screens are most important in 3-D projection.

On the low-budget end, Jack Becket of NB Digital and myself have been working on single camera 3-D, using a 4K by 8K chip, which simulates (2) 4K x 4K eyes. The 4K x 8K aperture is just like 70mm film, but as said before, HD currently exponentially lacks film resolution and quality. This camera will work to get the low-budget crowd into the 3-D area. Oops, that's not what the studios want!

MarketSaw: How do you see the 3-D movie industry growing in the coming months? Years?

EM: I see a group of people winning a Scientific and Technology - Academy Award for Glass-less (lenticular/parallax) 3-D. I also see the Majors (Studios) creating a barrier to entry to separate themselves from the Independent film industry, and also the DVD pirates, by means of 3-D.

MarketSaw: Can you divulge who is in the race to Glass-less 3-D?

EM: Steven Spielberg's camp was touting a Glass-Less patent claim recently. Glass-less 3-D existed at MIT and in the Soviet Union in the 1960's, but was lost as a trial medium over time. I think if we look back to the use of parallax by the Multiplex Corporation in the 1970's, combined with the 1950's subliminal cinema advertising, and variable frame rates, we will have the perfect Glass-Less system.

MarketSaw: You have some exciting 3-D projects on the go and planned, can you give us some details?

EM: I am most excited about Horrorween http://www.horrorween.com/ that Joe Estevez (of the world famous Sheen and Estevez family) is Directing for me. Basically, a Horror/Comedy in 3-D about the Chinese knocking-off Microsoft Windows, and coming out with a cheaper version called "Chindows".

I have also been toying around with 3-D legend Chris Condon's idea of me Directing a remake of the Stewardesses, the highest grossing 3-D film ever.

...and of course I have been writing Dumbass 3-D, which is a modern day "Coming at Ya! and alot of other 3-D "pitch" ideas.

MarketSaw: Your gameplan would then be to plug these pictures into available 3-D theater slots between the studio tentpoles?

EM: Yes, It is just like when Cable TV debuted, there was not enough product. We need to produce Independent 3-D films to fill the slots between the mega-budget studio films.

MarketSaw: There has been some controversy lately in 3-D Hollywood, both corporately and privately; care to say a few words about that?

EM: I recently had a tumultuous business divorce from industry legend Doug Schwartz (creator of BayWatch). Doug Schwartz and his publically traded StereoVision (Stock Symbol: SVSN.ob) and my Hollywood Laboratory (http://www.hollywoodlaboratory.com/) are now in competition to produce Independent 3-D films. My new 3-D companies' website will eventually be: http://www.digital3-d.com/.

I wish Doug Schwartz good luck, and look forward to possibly working with him again in the future. Doug Schwartz is one person who is really passionate about 3-D! But, Hollywood is one degree of separation, and we all love and hate each other.

MarketSaw: Ed, you are neighbors with James Cameron and Jeffrey Katzenberg - How did the fires of 2007 affect you, your family and neighbors?

EM: Years ago I had heard that 70% of the industry movers and shakers lived in Malibu, but after the recent fire, I learned thatalmost all of the 3-D Cinema proponents live in Malibu! We all survived another Malibu Fire, so now on with 3-D!

MarketSaw: Do you have any special projects on the go, outside of motion pictures, that you can elaborate on?

EM: I did a fair amount of entertainment consulting in China for the 2008 Beijing Olympics, and now I have been asked to consult on some of the entertainment for the 2011 Pan Am Games in Guadalajara. My true love is TV Sitcoms, and I'm directing the pilot for the first truly bi-lingual Sitcom called "Pochismos". Most people don't give thought to the fact that a lot of Hispanic and Latino people can't speak Spanish, but want to watch Spanish Television.

MarketSaw: Can you describe the 3-D landscape as you see it today? What directors, studios, companies, actors are connected or divided and who do you see emerging as the victors in say 2010?

EM: My thought is that Real D and Dolby 3D should be concentrating on Glass-Less 3D. I remember attending a Society of Motion Picture and Television Engineers (SMPTE) / American Society of Cinematographers (ASC) symposium in New York City in the 1970s, given by Douglas Trumball. The same people sitting in the theater are still behind Special Effects and 3-D. Many of the same folks came out again for the recent 3-D symposium at the Academy (Academy of Motion Picture Arts and Sciences). The problem is that the major studios and producers don't ever take us seriously, as most are fearful that this new 3-D will once again be a William Castle flash in the pan. We never have enough R & D and development monies, and I fear that 3-D films might once again dwindle to low-budget fare, if the studios and producers don't start getting behind us with cash investment. Hollywood is just one degree of separation, so we are all connected, and we will all survive. John Rupkelvis had it right, 3-D will just create more controversy in the future!

MarketSaw: Regarding 3-D technology, there is a lot of momentum behind Real D right now as far as theater conversions. How do you feel about their technology? Is it superior or not to Dolby 3-D and IMAX 3-D? Are there other formats on the horizon that will come in and take over?

EM: Where are the motion seats?, the Smell-O-Vision, etc.! (Laughs) Real D and Dolby 3D are two entirely different technologies. One will win however! That is the history of the industry. Dolby is stand-alone, but which deep-pockets will acquire Real-D?

Once again, I must reiterate that Glass-Less 3-D is on the very near horizon. I hope that I will share in the Academy Award.

MarketSaw: So you are actively involved in the race to Glass-less 3-D. I know that having to wear glasses is one of the key downsides of 3-D that just about everyone I talk to brings up. It would be powerful to not have to wear them to be sure! Are their competing formats in this race as well (like Real D vs. Dolby)? When do you expect to see an announcement on this? What is the impact in theaters regarding conversion?

EM: Glass-Less 3-D projection will be subliminal, so we need to work with paralax vs. multiplexed variable frame rates. I shot a lot of the original Multiplex Holograms, and understand how to shoot and project a subliminal Glass-Less image. We don't need glasses, as our brain can create the 3D from the 3-D!!! It all comes down to the studios taking us seriously, and committing the millions of dollars that we require for R & D and Development. Actually the cost of conversion to Glass-Less 3-D for theaters, if not directly underwritten by a distributor(s) would be less than $10K. I have been investing R & D money in Holography and 3-D since the 1970's. I want the Academy Award like everyone else. (Laughs)

MarketSaw: If there was a 3-D hall of fame, whose portraits would you hang inside to reflect upon there contributions to the industry?

EM: Edwin Land - Polaroid

Chris Condon - Father of 3-D - StereoVision/Century Precision Optical

John Rupkelvis - 3-D Visionary

Robb White - Writer

Mortimer Marks - Marks Polarized Corp.

Jason Sapan, Hart Perry, Lloyd Cross, Rufus Friedman, and the rest of the gang that developed Multiplex Holography. (Their use of Parallax is key to Glass-Less 3-D)

Jack Beckett - Proponent of Cinematography advances.

Dr. Richard Vetter, ASC - Proponent of Special Format Cinematography.

Josh Greer and Lenny Lipton - Real D

James Cameron and Vince Pace - Pace Technologies

Douglas Trumball - Cinema/Special Effects Visionary

Roy Disney, Steven Spielberg and Jeffrey Katzenberg - Investors at Risk.

MarketSaw: Very impressive list! Is the 3-D industry being driven by dollars right now, or are there people with a genuine passion and attachment involved? Who are these people?

EM: (Laughs) Someone needs to tell Spielberg, Katzenberg and Roy Disney that we need R & D and development money ASAP. We are all using our own funds !!! Right now, our own personal funds are the only reason why 3-D is happening! Hopefully the investments will pay off for you all!

MarketSaw: If you could line up the 'dream team' of contributors for a single feature motion picture, who would they be? (Director, Producer, Actors, Cinematographer, Distributor, etc, etc.)

EM: Unfortunately, they are all dead! We need to start making movies as true craftsman again, going back to the way movies were made in the past! Just having an HD camera and Final Cut Pro doesn't guarantee that you can make a movie. And making a 3-D film is 10,000 times more tough!

MarketSaw: When you see first time directors like Thomas Jane tackling 3-D movies what goes through your mind? "The Dark Country" looks very intriguing - do you know if he has expert 3-D help on that film?

EM: I give everyone who attempts a film credit, it is the ultimate way of storytelling. Anyone can make a movie. It's making your movie not look like a home video that takes years of applying your craft. Take Rob Zombie for example, compare his 2-D "Devil's Rejects" to his 2-D "Halloween", and see the difference in continuity. Money, crew and craft talk. Makers of 3-D films need to look back in history and find technical advisers with 3-D experience. Look at Chris Condon, he has 40+ 3-D films to his credit! Even though software will begin to appear to make automatic Inter-Ocular adjustments, etc., to make a movie you truly need the old folks with experience to serve as technical advisers.

MarketSaw: Where do you see yourself in the 3-D industry today?

EM: I have sacrificed my livelyhood for years, even to the extent of being ridiculed, to keep 3-D, and more importantly "Special Format Cinema" alive.

MarketSaw: Well I'm with you on that. I firmly believe in bringing added value to the theater - something that home theaters just can't accomplish. Yet anyway. I find it amusing when some people refer to 3-D as being a 'gimmick', yet most humans see in 3-D! It would be the ideal format to enjoy entertainment - boggles my mind. But I haven't invested too much hard earned dollars into my belief yet. Hats off to you for that Ed.

EM: The overall point that I'm trying to make is that the science of 3-D Cinema, is quite different from the science of understanding how a person sees real life objects in 3D. The process of seeing real life objects in 3D by your own eyes is memory driven, as compared to seeing objects projected on a 3-D theater screen, and are really two differing types of illusions, both however, processed into three dimensions by the brain. In 3-D cinema, a filmmaker needs to move objects in front of, and behind the proscenium, by properly adjusting the interocular distance of the 3-D camera(s)/lens(es) .As we get into Glass-Less 3-D, we will be additionally relying on fooling the brain into changing an image into 3-D by using subliminal frame alternation, and parallax. Chris Condon is the ultimate expert in technically explaining how the brain interprets 3-D. I'm just a tinkerer and filmmaker and 3-D loudmouth and proponent (laughs). Most importantly is that we are able to raise enough money from investors or the studios to keep up this work toward Glass-Less 3-D. Most investors laugh when you mention 3-D. I just hope that the spectacular Ben-Hur's and Star Wars type films come out in 3-D, before the next wave of Coming at Ya!s kills off 3-D!

MarketSaw: What about 3-D in the home? Are home theaters about to evolve into 3-D as well?

EM: Yes, I truly believe that Sony will come on to the scene here, probably in partnership with Dolby.

MarketSaw: Any serious talk about 3-D Television production? With 3-D in the home being an eventuality that is certain, you would think that the wheels are in motion. What about 3-D advertising?

EM: 3-D TV Shows will be a gimmick until a lenticular LCD screen is standard on new TV sets, so as to be used with Glass-Less 3-D.
I was very disappointed by 3ality. The Halloween 3-D on Regis and Kelly was awful. It was just Coming at Ya! once again. Whoeverdirected it didn't understand the Inter-Ocular Distance calculations.

3D and 3-D advertising still exists, and there are some websites that you can Google who have some great custom VR, Holographic andLenticular stuff for advertisers! However, 3D and 3-D advertising is still treated like a snow globe. Actually, like 3-D film, 3Dadvertising was big along the roadside on billboards and in lenticular print in the 1950s.

MarketSaw: Lastly, Do you have any predictions that you would like to voice over what is going to happen in the 3-D industry in the next 5 to 10 years?

EM: Immersive 3-D without glasses. Need I say more. That is our only hope of changing film from a cold medium to a somewhat hot medium.

NOTES: I think that the 70mm features that the studios used to make were spectacular - like Ben Hur. Sweeping wide vistas are simply the way movies were meant to be from my mind. Of course if you were to add 3-D to that and you would have the ultimate palette from which to work. And I have got to say it, a 4k by 8k projection would be awesome to say the least.

Ed is right. There is a "real" potential for a takeover of Real D. That would be a heckuva investment in the future. Makes sense to me.

If Spielberg is involved in the glass-less (no 3-D glasses required for 3-D movie viewing) research and development, its GOT to be good. You heard it here - glass-less movie theaters could be on their way shortly. And with an little fellow named "Oscar" attached to it...