Dreamworks Animation Doing Awesome Thank You. Michael Morris Back Pedals

Jim here. I have got to laugh sometimes - especially at anyone who doubts the power of 3D. In this case it was a financial analyst with UBS by the name of Michael Morris who panned Dreamworks Animation as topping out. LOL. This was before they had released any 3D movies by the way!

Back in June, Morris stated: "We are downgrading the DreamWorks shares to Sell from Neutral reflecting our belief that the current share price exceeds the true intrinsic value of the company," analyst Michael Morris wrote in a note to clients.

Morris believes that -- at its current level -- DreamWorks' stock implies that all future films will gross more than $200 million domestically, which is above the company's historic average.

"The success of 'Kung Fu Panda' has generated increased enthusiasm for DreamWorks, but we now view the company's risk/reward profile as unattractive," Morris wrote. "Despite its strong opening weekend, we remind investors that they are buying all future films at a 'Kung Fu Panda' level performance at this point."

LOL. And where does this lead us? Here is his retraction today: UBS analyst Michael Morris upgraded the stock from "sell" to "neutral," "primarily based on updated assumptions for future DVD profitability." He explained: "Our revised assumptions reflect data provided by management reflecting both stable demand and pricing even in the current period of macro-economic weakness."

Someone needs to educate Mr. Morris that 3D brings in additional revenue and that you can legitimately tack on points because of it. He still hasn't acknowledged it whatsoever as far as I can see. Glad to see him getting back in line after hearing about how well Dreamworks Animation has done with DVD sales.

My recommendation? If you are buying stock, buy DWA stock. How could you do any worse by me? :-) DWA stock was up 25.2% yesterday after their awesome earnings call. Yes, Morris was asking questions during the call too, but didn't try to get too fancy...

Sources: MarketWatch, THR

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Not All IMAX Screens Are Created Equal

Michael here. Tonight I attended one of the 20 special screenings of the first Transformers movie and new Transformers 2: Revenge of the Fallen trailer at The Bridge IMAX in Los Angeles. We got a special visit from Michael Bay, Shia LaBeouf, and Tyrese Gibson, who introduced the clip and whipped the already primed audience into a frenzy.  Bay said that he has just shot the last bits of the film.  Anyway, for those of you who haven't already seen shoddy cam versions of the trailer, it should be online tomorrow in HD.

Needless to say, the trailer, which was played three times to raucous applause (twice before the movie, and once after the credits), looked amazing on the IMAX screen, as did Transformers itself.

But this leads me to my main problem with IMAX: namely, that depending on at which particular IMAX theater you see a movie, you either get an amazingly immersive, eye-popping experience, or something that looks dreadfully bad - much worse than 35mm or 2K sourced footage projected with a standard 2K projector.

Some background on the different types of IMAX theaters and the various types of films that are capable of being shown in these venues:

1. The highest quality IMAX experience is that of footage shot on IMAX cameras using IMAX film (69.6 mm by 48.5 mm) being run through a special IMAX projector onto the large, tall IMAX screen.  For example, The Dark Knight has multiple scenes shot and projected in what I like to call "true IMAX,", as will Revenge of the Fallen.  As for "true IMAX 3D", some IMAX 3D documentaries are filmed and projected this way, but as of yet no major hollywood film has been completely shot and projected in true 70mm IMAX 3D.

2. The second highest quality IMAX experience is that of footage - either 35mm or digital 2k/1080p - being "blown up" using a proprietary process that IMAX refers to as DMR (Digital Remastering), which employs digital methods to reduce film grain/pixelization, and then prints the result onto IMAX film stock.  This was the way I saw Transformers tonight.  Watching a 2k/1080p or 35mm film "blown up" to IMAX stock in this way is definitely more impressive than watching it in a regular 35mm or digital projection theater, but it is still quite a bit below the level of detail and clarity of watching something like those specially shot scenes from The Dark Knight, the super high resolution of which (along with my close proximity to the giant screen) made me believe I was looking through a crystal clear window into another world.

3. Here is what you absolutely have to avoid: IMAX digital.  This process is simply two stacked 2k projectors.  I saw Watchmen in an IMAX digital theater, and the image quality was dreadful: incredibly pixelated and with a ton of digital artifacts.  The main reason for this low quality? The fact that IMAX digital is essentially a 1080p image digitally projected onto a huge screen which you will be sitting relatively close to.  Try sitting less than one image height away from your 1080p TV, and you will see the pixels.  IMAX digital looks even worse than that.

Moral of the story?  Although I understand IMAX's financial motivations for getting their brand into as many theaters as possible, IMAX needs to go back to offering the highest possible quality of viewing if they wish to retain their reputation as a premium experience.  I am disappointed that they are lowering their standards in this manner.  "True" IMAX theaters are an incredible experience whether showing a film shot on IMAX stock, or even a DMR blowup printed onto IMAX film.  And, of course, IMAX 3D is the best 3D you can get - as long as it is projected from real IMAX film stock.

But I urge you to stay away from IMAX digital until IMAX at the very least acquires 4k projectors for these theaters.  Seeing giant, blocky pixels isn't pleasant.  Give your IMAX theater a call before deciding on which IMAX screen to see your next movie.

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Ricky Gervais Adds A Dimension To His Own Children's FLANIMALS Books?

Jim here. Well I didn't know Ricky Gervais had a series of children's books entitled FLANIMALS, but with his decision to bring the property to 3D he has generated quite a bit of interest on my part.

Apparently Matt Selman (THE SIMPSONS) will write the script and Gervais will live vicariously through voicing his own lead character as well as executive produce. Chris Meledandri and Courtney Pledger will produce.

From Variety: The four-volume series, illustrated by Rob Steen, encompasses a world inhabited by 50 species of creatures so ugly and misshapen they become cute and endearing. Gervais' character, a pudgy, perspiring purple creature, goes on a mission to change the world. "It will be great to play a short, fat, sweaty loser for a change," Gervais said. "A real stretch."

The animation will be done through Universal's Illumination offshoot. For me, I am a bit nervous whenever a lesser known shop decides to tackle stereoscopic 3D animation. I really don't want to sit through bad 3D. I give the benefit of the doubt where it warranted so lets see how well they can pull this off.

I am ALSO GOING OUT ON A LIMB HERE as Variety posted that this will be a 3-D movie. Frequently animators call their work 3D whenever they use a creative style that shows depth like SHREK as opposed to something like FAMILY GUY. However 3-D is typically reserved for stereoscopic 3D. Yeah I know. That uncoordinated terminology within the same industry is a gigantic nuisance. I could very well be pulling this post tomorrow if someone enlightens me that it is really only 2D. Oh well. Here is hoping for a nice, well made stereo surprise.

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Ridley Scott To Shoot ALIEN Prequel in 3D? AVATAR At Comicon?

Jim here. Coming straight from the guy who should know, Tom Rothman (Co-chairman, Fox) IESB caught him confirming that Ridley Scott is looking at returning to the ALIEN franchise with a prequel to the original movie that started it all.

Here is what Rothman had to say about Scott and an ALIEN prequel: "There's been some talk. Ridley Scott, Ridley is right now working on Robin Hood, but I think he's toying with the idea and that would be great for us. I mean, it's always been a matter of, really, if you can get the originator to do it that would be the greatest thing, so I've got my fingers crossed, all of them."

I think I would only entertain an ALIEN prequel using either Scott or Cameron - but preferably Scott as he started the whole ball rolling and it has to led into the first movie effectively.

Rothman was not asked directly if it would be shot in 3D, but we know that Ridley was NOT interested in ever doing another SciFi until he saw Cameron's AVATAR in action. Then he signed up for THE FOREVER WAR in 3D. If everything stays the way things are lined up, I GUARAN-FREAKIN'TEE YOU that ALIEN will be in stereoscopic 3D.

I don't know about all of you, but I am estatic that such great quality directors are coming on board 3D and embracing it. Let's hope a Ridley Scott ALIEN 3D Prequel comes to be! Who, I say, who is up for that?

ALSO - Rothman was ADAMANT that if you want to see what he hinted strongly was AVATAR soon, than you have to be at Comicon. Guess what? San Diego is about to be inundated with rapid Cameron fans this August. I guaran-freakin'tee that too. :-)

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Director David R. Ellis: Horror HUMPTY DUMPTY Going SciFi 3D

Jim here. According to Variety, David R. Ellis has been selected to direct HUMPTY DUMPTY, a science fiction horror movie based on the premise of an alien that wreaks havoc on humans after his mother was "abused by two rednecks in the Deep South".

Mark Ordesky (Exec Prod - LOTRs) is producing through his own Amber Entertainment company.

Look for shooting to commence in September.

Personally I think that this project holds a lot of promise if it is done correctly. I mean major box office bite. Why? Because it gives a fresh perspective on a common theme - the alien on earth thing has been done to death. But introduce some potential sympathy for the vigilante alien and BINGO :-) You have a PREDATOR meets ORCA. And of course any SciFi done in 3D in the right way is going to be spectacular. This has franchise written all over it too.

Ellis has an impressive background in stuntwork so I will expect to see many old school, non-CGI tricks up his sleeve for this action pic. And of course he is helming the 3D slasher FINAL DESTINATION: DEATH TRIP 3D due in theaters this August - I have heard plenty of good things about it too.

Ellis has a connection with Vince Pace too through FINAL DESTINATION so potentially he would be using the Pace / Cameron Fusion 3D rigs for HUMPTY DUMPTY. That would be awesome.

Ordesky brings a lot to the table with the LORD OF THE RINGS trilogy under his belt, but keep in mind he was executive producer on those. This is a much more hands on dealio.

There does not seem to be any cracks in this project yet. We shall see who they land for talent and I will be following those developments closely. If you have any knowledge on HUMPTY DUMPTY let me know! (...and don't quote the nursery rhyme!) :-)

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3D Is Gaining Mindshare - MarketSaw Interview Update

Hey guys - Jim here. Thought I would actually link to one of the many stories I get tapped for by various publications around the world. I have been interviewed many times before for 3D stories as MarketSaw is a repository of information about exactly what a 3D movie interest story would need. Other media include SLATE, WIRED and COMPUTER GRAPHICS WORLD. I also write the post for THE WRAP - a hot, new, Hollywood-based industry news website.

This time around it is THE BUFFALO NEWS and I remember the reporter, Anne Neville being intensely interested in 3D and wanting to pass that along to her readers - which thrills me of course. I want 3D OUT THERE. Everyone needs to experience it and see what it means to them. I think it is just as valuable to audiences as color was when it was introduced.

The photo is of Brian Durante, manager of the Dipson Theatre's McKinley Mall 6 in Buffalo, loading a full-length movie into a digital projector. That is a far cry from the old heavy reels of film that used to be shipped all over the world now isn't it?

Consider this an open invitation to contact your local paper and ask them to send me an email to drum up support for 3D in your community - large or small. My email is jim (at) marketsaw (dot) com. You can also let your local theater owners know how excited you are about 3D taking off and that you would love to have more (or even your first) 3D theater opened. The larger centers are going to have 3D, no question. But it may take a little ground work to get the smaller centers on board faster so have at it!! :-)

Photo courtesy of Robert Kirkham - Buffalo News

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iZ3D Expands 3D Monitor Rebates

Jim here. iZ3D has expanded their $50 rebate program to include not only AMD ATI Radeon Graphics Card customers, but also NVIDIA GeForce® graphics card customers as well.

From the press release:
“We’ve had great response to our $50 iZ3D monitor rebate from AMD customers and an equally strong chorus of requests for the same discount from nVidia customers that prefer to have the 3D technology inside the display instead of inside active glasses, “ states David Chechelashvili, VP Marketing for iZ3D, Inc. iZ3D’s approach to 3D places all the 3D technology in the monitor so that users need only wear passive polarized glasses. This enables more participants at a significantly lower price to enjoy 3D in ambient lit rooms without headaches, fatigue, or eyestrain.

The current rebate offer runs through June 15, 2009 making an iZ3D gaming display solution even more affordable for Mother’s Day, Father’s Day or as a graduation present. Rebates can apply to purchases online at iZ3D.com or at any retail store or authorized iZ3D online reseller. Terms and conditions apply. iZ3D has also added new features to its website including a rebate center where visitors can check for current offers and discounts.

“We value our 3D customers and want to make their iZ3D experience as satisfying as possible. Since our website outage we have been improving our website while preparing totally new web experience based on customer feedback for release this summer. Our goal is for our website to provide a 3D experience where consumers can get immersed in 3D through education, experience, purchasing, support, and socialization. We are also diligently working to provide cutting-edge customer service,” said David Chechelashvili, VP Marketing for iZ3D Inc.

For more information on the monitor check out iZ3D's website.

Availability and Pricing
The iZ3D 22-inch monitor has a MSRP of $399.00 USD and is currently available in the U.S. at Fry’s Electronics, Micro Center, and Altex Computers and at NCIX stores in Canada. Online retailers include www.staples.com, www.newegg.com, www.amazon.com, www.pcmall.com, www.criticalbuy.com, www.iz3d.com, www.walmart.com, www.buy.com and other online etailers.

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3D Is The Answer For Music Labels Seeking More Revenue

Jim here. Thorsten, a longtime reader from Germany sent me this info (KRAFTWERK story below) - and it could very well represent the future of entertainment concerts around the world.

Let me explain. We all know that the music industry is having trouble with how to capitalize on their revenue potential. Many are suggesting a heavy return for touring bands as a way to bring in money - LIVE concerts. I happen to believe in that remedy. But their is more potential here.

3D for example. I propose that music companies fund these concert tours but also generate further revenue from the following:
- Broadcast concerts in LIVE 3D around the globe for well known bands on opening nights for premium fees. If an in-person concert ticket costs $100, charge $25 for live event tickets in theaters. Sell the same exclusive merchandise that you can buy at the concert at these theaters as well. Allow the purchase of alcohol during these special screenings.
- Record these live events for limited-time (1 week or 2) presentations in 3D at the theaters ($12). Sell left over merchandise. No alcohol.
- Insert these 3D concerts into their available Blu-ray 3DHD library once 3D home videos are enjoying a standard format (should be soon through the efforts of the SMPTE and some select corporations).

Further, they should integrate 3D into the in-person live concerts. Take for example the German electromusic pioneers KRAFTWERK performing in Wolfsburg, Germany on April 26, 2009. The band integrated 3D graphics behind them on four huge video walls and the audience really engaged it. I should note here that it was NOT polarized 3D, but those annoying old cardboard glasses - but the potential is there for something truly spectacular with modern 3D. The polarized glasses can be branded with the bands tour info / logo and taken home as another momento of the event.

Those KRAFTWERK guys kinda look like extras for TRON2... :-)

If the 3D is done right - like U2 3D was - then it is truly is a no-brainer. The theater's audience feels like they are actually there and in some ways it is a superior way to see your favorite bands. I know I was blown away by seeing U2 in 3D from being on stage in front of 100,000 people to becoming one of a sea of humanity in the audience with the heads of the people in front of me in the theater MERGING with the heads of the audience at the concert. SEAMLESS. And spectacular.

For the labels, the time is now. Leverage your artists' performances in 3D and you will reap the rewards...

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Concept Designer James Clyne Talks "Avatar" & "Battle Angel"!!

Hi everyone, Michael here.  We are very proud to have the opportunity to talk to concept/production designer James Clyne about his experiences working on James Cameron's Avatar and Battle Angel!

Clyne's paintings are like an adrenaline kick to the imagination.  They invoke a sense of childlike wonder and limitless possibility and, well, awesomeness.  His portrayals of alien worlds, futuristic cityscapes, and fantastic characters are rendered at a level of detail and have a sense of scope that define the word "epic."  Indeed, Clyne's resume reads like a list of the biggest and most iconic imagery seen in the past decade of motion pictures: from the drowned ruins of an amusement park from Spielberg's AI to the Trojan Horse of Wolfgang Peterson's Troy to the vertical highways of Minority Report to enormous tripods laying fiery waste to the landscape to Megatron frozen in ice, Clyne's designs have become woven into the fabric of popular culture worldwide.

Given this history, Clyne's collaboration with James Cameron on Avatar and Battle Angel strikes me as one of the most exciting pairings of visionaries I can imagine.  I absolutely cannot wait to see the designs James has come up with for these movies.  One thing is for sure, however-whatever he has come up with is sure to kindle the imagination of the world and push the limits of movie imagery beyond our wildest dreams.

(note: the examples of Clyne's work interspersed throughout this article are unrelated to his work on the Cameron movies.  Click on them for bigger versions)

Michael: James Cameron is an artist himself. On either or both both of these projects (Avatar and Battle Angel), did he often come to you with designs already on paper? Does the fact that he draws and knows so much about technology lead to a more collaborative relationship between director and designer?

James Clyne: Surprisingly Jim didn't provide much feedback drawing wise as far as Avatar and Battle Angel were concerned. Most of Jim's feedback was verbal, along with the artists using the script as the templet for ideas. It's a shame too, one thing I found working on these projects was what a fantastic artist Jim is. I don't remember if it was Avatar or Battle, but one day Jim brought in a collection of his drawings from Aliens and the Abyss. So cool, and so humbling, man the guy can draw! What's so great about his designs, because they are so grounded in real science and engineering, they still hold up years after. Not many film designs (including my own) hold up over time.

Michael: What aspects of the Avatar and Battle Angel worlds were you called upon to create (landscapes / vistas, vehicles, characters, creatures, etc), or was your work spread amongst various aspects of the design of the films?

James Clyne: For Battle I was asked to focus in on the character design, primarily Alita herself. I'd say the first year was spent entirely on the mechanics behind her many incarnations. For Avatar, most of my work's emphasis was on everything "human". Obviously due to contractual agreements i've signed in blood, i can't release too much regarding specifics, but in Avatar I can say there is a large alien aspect to the world, but there is also a contingency of humans involved as well. Most of my job was to envision that world. Fun stuff, the engineering behind the world is very Jim.

Michael: How did you first come on board the Battle Angel project? At what stage of the Avatar project (which has been in serious development / production for almost five years) did you come on board?

James Clyne: Typically the way i'm hired is either by the Director, a Producer, or the Production Designer. In both cases I was hired by the Production Designer. I guess I didn't piss off too many people in Jim's camp to be asked back for Avatar.

Michael: Were you a fan of the Battle Angel manga series before working on the film? If you are a fan now, what aspect of the graphic novels appeals to you the most? How does either being a fan /not being a fan of the source material of a project (either before or after starting work) affect your approach to working on that project?

James Clyne: No, I really knew very little about Battle Angel before jumping on the project. I knew a bit of the artwork, but story wise I was very new to it. I kinda enjoy not knowing too much about the project before starting. Gives me a way to jump in fresh with the material. I guess that's why when I travel I tend to not read up on the country I'm traveling to. Makes the journey a bit more unexpected I guess. Once I was on the show, all the artists of course read through the many published books. There's some really great new ideas in technology and the future of society that i found compelling. For example, the gladiatorial aspect of future sports was a fun one. The wide social gap of the "have and have nots" in the story was intriguing as well.

Michael: What aspect of adapting Kishiro's designs and unique art style for the cinema screen proved the most challenging? The most rewarding?

James Clyne: Because my job was spent mostly developing Alita herself, I'd say the most challenging part was to find a way to successfully blend Kishiro's Anime style with a photo-real look. Jim certainly wanted to retain the look, the soul, of the book's illustrations, but also wanted to step up the visual landscape into something never seen before on film, which in a way, if you can pull it off, is also the most rewarding.

Michael: For me, one of the most fascinating and brilliant things about the Battle Angel graphic novels is how Alita's appearance seems to change along with her personality. As she grows up and accumulates life experiences, the new faces, bodies, and outfits she acquires are very much reflections of where she is in her psychological development. Cameron has spoken about this too. Did you design multiple "looks" for Alita in this fashion?

James Clyne: Without opening my mouth and firmly placing my foot in it, yes there were many "developmental incarnations" explored.

Michael: The Battle Angel Alita graphic novels are one of the best examples of the power of setting in a story. The industrial Scrapyard city, with the massive, oppressive and mysterious sky city hovering overhead, immediately draws the reader into the world by becoming a character in and of itself. The characters wouldn't be who they are if it weren't for the setting in which they are living and fighting. How much emphasis was placed on designing the backdrops /settings? Did you have any initial discussions regarding the overall aesthetic or mood you would aim for?

James Clyne: Yeah, Alita is only one of many characters in the story. Another one, which you describe, is the world in which she lives. Along with the Alita designs I worked on developing the look of the scrapyard city. Mark Goerner, who I believe you have also interviewed, spent much of his time on the environments. He was perfect for the job, he has such a proficient knowledge of scale, architecture, and technology and came up with such an amazing catalog of environments. I really wish you could see what we came up with.

Michael: Was there a consensus amongst the art team and director on which aspects of the original manga were the most vital to preserve in the film?

James Clyne: Yes there was, but we were also given freedom to expand the universe a bit. Unfortunately any specifics would get me in hot Cameron water.

Michael: How did the experience of working as a part of such a small art team on Battle Angel influence your creative process? I'd imagine that such a work environment would be conducive to a more free exchange of ideas amongst the artists. Was this the case? How did this compare to your experience working on Avatar?

James Clyne: Yeah, it definitely was the case. With such a small team on Battle, we had time to throw a lot of ideas around, along with shooting hoops on our indoor double basketball hoop. On Avatar it was much more akin to being an ensign on a battleship. We all had our specific daily duties, with captain JC at the helm.

Michael: Do you have any personal favorite pieces that you created from your time working on Avatar and Battle Angel? Any chance we might see some of your work in the recently announced "The Art of Avatar" book?

James Clyne: Nice try Michael, can't really go into too much detail regarding my favorites, sorry. As far as Avatar is concerned, I'm hoping you'll be seeing plenty of my designs in the "Art of" book!

Michael: Without giving away any spoilers, what is it that excites you the most about the Avatar and Battle Angel projects? What was your favorite thing about working on these projects?

James Clyne: I think the favorite thing about working on these projects was the fact that Jim was able to wrangle the best in the industry from the top down. From the concept artist to the Visual Effects supervisors everyone was total pro. It's seldom you have the chance to work in collaboration with such a high caliber level of artists and technicians at one time. For Avatar, I think all that hard work and talent won't be wasted on screen.

Michael: What can you tell us about what you are currently working on?

James Clyne: After Avatar I had the opportunity to work on the upcoming Star Trek film followed by Roland Emmerich's 2012. I'm currently production designing an in development Animated Feature.

A huge thank you to James for talking with us!

For more of James' work, visit www.jamesclyne.com

Head over to CG Channel for a great video interview with James and to CG Society for an in-depth profile

Check out James' professional concept design tutorial DVDs at The Gnomon Workshop, and art books showcasing his work here and here!

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James Cameron's AVATAR Set Photo Scans!!!

Jim here. DAMN!! We are finally getting to see some AVATAR production stuff and I don't know how, but the fire burning for AVATAR just got stoked even hotter. At least we are getting to see something official and ultra cool... MANY thanks to one of my valuable UK readers for sending in these scans!!

Take a look at these scans from Empire Magazine for their recent edition - and be sure to pick up a copy too. These guys did a heckuva job getting these photos and getting a nice Cameron interview to boot. I am only posting some of the image scans I have as you really should pick up the magazine.

Here is some of what Cameron has to say and some filler in the Empire interview: "We've eliminated the animation from animation." With AVATAR's groundbreaking set-up, Cameron could observe the actors (left monitor) in a rough version of the final CG environment (right monitor).

Aside from an intricate, and very alien, ecosystem with predators large and small, Cameron's idea revolved around a race of indigenous sentient aliens called the Na'vi. Nine feet tall, blue skinned and feline in appearance, they would need to be entirely computer-animated yet interact seamlessly with the live action.

Cameron says: "With the capture technologies we developed, the actor can be any character they can imagine and the director can create any world, any time and any space."

And here is a great quote from Cameron on Spielberg and Jackson: "I invited them over while shooting AVATAR. I put the camera in their hands and they basically became two kids - on the inside every filmmaker is really just a complete geek. The amazing thing for me was just watching that seminal moment. They were running around the stage, working the camera, and that's the moment when they both kind of looked at each other in the eye and said, 'Let's make TINTIN.'"

Here we go! In order:
Pic 1: Cameron working the Fusion 3D Camera System
Pic 2: Cameron adjusting some controls on "The Volume" - he can see the actor in the green screen environment (with dozens of cameras surrounding him) and he can see what that very same actor looks like in a rough rendering of the CG environment in real time.
Pic 3: My source for the scans also took the time to photoshop the image from the right screen to correct for the angle!
Pic 4: Background shots of an actor dressed in military uniform and the super futuristic computer screens of AVATAR! These are highlighted in red boxes and then blown up below...
Pic 5: Military actor - seems VERY similar to my other exclusive image of what AVATAR's military personnel will look like.
Pic 6: The computer screens from AVATAR look like they curve around the user - awesome! Not unlike this cool screen (at the bottom of the post).
































































































Empire magazine also states that other than Spielberg and Jackson (who we already know are using Cameron's technology for shooting TINTIN right now), there are two others that have "signed up" and got "swept away" by the possibilities - Abrams and del Toro! SOOOO... one would naturally assume that Abrams' next STAR TREK could be 3D and *AHEM*, the two HOBBIT movies in 3D. Of course we at MarketSaw already knew that there was a strong chance of THE HOBBIT(s) being 3D didn't we? I couldn't hold back a smile guys...

So definitely something to talk about for awhile before the trailer comes out. Michael has gotten confirmation that the AVATAR trailer will NOT be attached to WOLVERINE unfortunately. Sorry to burst so many bubbles on that one - IMDb was all the rage about it today. The big thing here though was Cameron's emphasis that the 3D was not the huge tech hurtle that the new perfcap system was - and of course, crossing the "uncanny valley". Don't forget to buy your own copy of Empire Magazine for more coverage!

Stoked is not a strong enough word for how I feel about AVATAR... :-)

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Set Footage From "Final Destination: Death Trip 3D"

Jim here. Just got wind of some spy set footage from FINAL DESTINATION: DEATH TRIP 3D and it is pretty cool. I love seeing behind the scenes clips!

Anyway in this video, they are shooting a sequence where a construction worker's scaffolding tips over leaving him dangling from a window ledge. Kinda cool how the clip ends with a shot of a coffee shop named "Death By Caffeine".

Also there is a nice shot of the camera system being used - The Pace Fusion System if I am not mistaken. It looks gorgeous!

There is nothing here to really spoil anything for anyone so don't worry about ruining your movie experience.

So have a look - there is an HD version too if you like...

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Disney Hits A Grand Slam With G-Force Promotion

Jim here. Disney is stepping up to the plate for its new 3D, family, comedy adventure G-FORCE. Working with Major League Baseball, they have come up with a scheme where if someone hits a grand slam during the July 14 All Star Game, then BLAM! 1 million people get to see G-FORCE for free.

Thats right. All you have to do is be one of the first 1 million to sign up at Disney.com between April 22 and July 14, and if that huge dinger is hit, you are off to enjoy some stereoscopic guinea pigs kick some butt. The last home run at an All Star Game was in 1983. Oh and if you are in attendance at the All Star Game in St. Louis and the aforementioned tater is struck, you get in free too.

I guess these guinea pigs would have to be on steriods wouldn't they? I don't see the tie in with MLB though. What a second... no. I mean, they talk and stuff. :-) Looks like a blast. I will be checking it out for sure. And that Bruckheimer guy has quite a track record, no?

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Does Spielberg And Jackson Have Their Third "Tintin" Director?

**UPDATE April 23: According to Slashfilm, Wright denied being attached: "Not that I know of. But hey, rumors are fun" - that kind of leaves the door open as Wright did in fact help write TINTIN after all. When I was finally responded to by Wright's camp, they simply quoted what he told /Film. lol.

Jim here. According to the omnipotent IMDb, yes they do. Edgar Wright (SHAUN OF THE DEAD) looks to be directing TINTIN 3 if whoever updated the associated IMDb webpage has any credence.

Does this make sense? It does if Spielberg and Jackson want a darker, more edgier TINTIN for the third installement (with a good sense of humor mixed in). I don't see a heckuva lot of 3D or performance capture experience though - even though you could do worse by having Spielberg and Jackson as mentors wha?

Oh and that is Wright in the center of the photo for those of you who have been under a rock for awhile... :-)

So what TINTIN story does this make sense for? I am far from a TINTIN oracle so I am relying on you guys to pipe up with potential storylines here :-) What do you make of this?

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Sony Thinking Spider-Man 4 In 3D?

Jim here. Well I knew that Amy Pascal was pro-3D, but that didn't stop me from loving every word of this interview with her and Michael Lynton (both are Sony's chiefs) over on Forbes.

Here is the excerpt to do with 3D:

You have an animated movie coming out this fall, Cloudy With a Chance of Meatballs, in 3-D. Do you see that as the future of the industry?
Pascal: For sure. You're not going to see a lot of animated movies that aren't in 3-D any more. I think Jeffrey Katzenberg preached that and he was right.
Lynton: I didn't understand what he was talking about until I saw [DreamWorks Animation's ( DWA - news - people )]Monsters vs. Aliens. It's a very immersive experience. It's like seeing perspective for the first time. I think it is something different and terrific and a new group of directors will have to figure out how to do it.

What about for live action movies?
Pascal: I think James Cameron's new movie [Avatar] could change the world. I think everyone is in anticipation thinking it's going to be like Star Wars. It's going to change the way you consume entertainment. I don't know that it will ever be the way you see dramas, but I can't say anymore that it won't be.

Are you considering doing any live action movies in 3-D? What about Spider-Man 4?
Pascal: Could be.
Lynton: People are paying a premium to see movies in 3-D and that's a very big deal. It's never been done before that someone says you have to pay more to see Spider-Man than a romantic comedy.

My stereoscopic sense is tingling! I have been watching Spider-Man since the original cartoon on TV with that wonderful music score. I have yet to keep the habit. Spider-Man in 3D would be something I would place on my bucket list, you know? It has to be done right of course, but wow - that would be so cool.

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"Battle Angel" Has A Script Ready?

Jim here. According to SciFiScoop, BATTLE ANGEL's IMDB page has been updated with a status change from "Development Unknown" to "Script". Even if this is official (which with IMDb it certainly may NOT be), does it mean that we are closer to seeing this get made?

We know that Cameron has been working on BATTLE ANGEL here and there. So this little development seems to fall in line with current expectations that the heat is being turned up on this project and may be front-burnered. Certainly Cameron's 3D tech has been tweaked and optimized during thr shooting of AVATAR so the project should hit the ground running - whenever that is.

So what will happen with THE DIVE? One would assume that Cameron can and will swap projects from time to time as it was a toss up whether AVATAR would be made first over BATTLE ANGEL. Personally I would like to see BATTLE ANGEL done next, but I know that THE DIVE will be an extremely important movie in that Cameron can present a drama in 3D done CORRECTLY.

What project do you think Cameron should shoot next?

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RealD Reaches Out To CGR Cinemas: 200 Screen Deal

Jim here. RealD continues to dominate 3D deployment announcements with this latest one from France...

La Rochelle and Los Angeles (April 21, 2009) – CGR Cinemas, one of France’s leading exhibition chains, and RealD, the world’s leading outfitter of 3D-enabled theatres, announced today an exclusive partnership where CGR Cinemas will add RealD 3D capabilities to each of its 33 locations for a total of 200 RealD 3D-enabled screens. The result will be the largest 3D circuit in France. Installation of RealD technology will begin immediately and is expected to be complete by mid-year, with 4 to 6 RealD-equipped screens at each CGR Cinemas location.

“We are happy to be the precursors of new technology for French and European cinema by allying with the known world leader in 3D systems, RealD. This is another example of CGR Cinemas seizing opportunities first, which make it one of the pillars of French film exhibition today. This collaboration will allow us to take advantage of upcoming 3D films beginning with Ice Age: Dawn of the Dinosaurs.” said Jocelyn Bouyssy, chief executive officer of CGR Cinemas.

“We’re excited to work with CGR Cinemas to bring the market-leading RealD 3D experience to all of their locations,” added Bob Mayson, managing director or RealD Europe Ltd. “Audiences are seeking a new and engaging cinema experience that CGR Cinemas and RealD together will provide through this agreement to build out the largest 3D circuit in France, and one of the biggest in Europe.”

RealD’s next-generation technology is deployed across the world’s largest 3D platform in more than 40 countries with over 8,000 screens under contract and over 2,600 RealD 3D screens worldwide today. A bright spot for the entertainment industry, RealD 3D is driving box office to the tune of three to four times per screen revenue of the same film on 2D screens.

About CGR Cinemas
Founded in 1974 by Mister Georges Raymond, CGR Cinemas is based in LaRochelle, France. Initially based in the southwest of France, CGR Cinemas worked in the development of multiplexes across the entire French territory. CGR Cinemas is the third largest exhibition chain and the first independent circuit in France with more than 17 million annual spectators. CGR Cinemas was also the first European group to equip itself with digital technology. Madame Nicole Raymond and her children, Luc and Charles Raymond, took over CGR Cinemas when founder George Raymond died. Jocelyn Bouyssy has worked at CGR Cinémas for the last 20 years and currently serves as Chief Executive Officer of the company. www.cgrcinemas.fr

About RealD
RealD is the global leader in 3D, bringing the most advanced and realistic digital 3D experience to cinemas worldwide. Beyond cinema, RealD is the worldwide inventor and provider of key stereoscopic technologies used in science, manufacturing, marketing, and other industries, with thirty years of scientific development behind its systems. RealD’s mission-critical 3D technologies are used by organizations such as NASA, Pfizer, BMW, Boeing and more. www.RealD.com

The key point here is that this installation will be COMPLETE by mid year giving a nice buffer between it and the release of AVATAR in December. I believe you will be seeing plenty of 3D deployment action this summer as the theater owners ramp up for what is sure to be the entertainment juggernaut of the year. I will be so bold as to say THE DARK KNIGHT and TITANIC could be looking in the rear view mirrors. I'm not kidding.

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Panasonic Unveils Concept 3DHD (1080p) Camera Setup

Jim here. Well we knew it was going to happen, and here it is - at least in concept form. Panasonic has opened their komodo on the concept for an integrated stereo pair of 1080p cameras for shooting native 3D.

From their PR Newswire:
The system, which is expected to be the first of its kind in the industry, consists of a twin-lens P2 professional camera recorder and a 3D-compatible High Definition Plasma display. Panasonic will exhibit concept models of the 3D system at its booth (Central Hall #3712) at NAB 2009 to be held in Las Vegas, Nevada from April 20, 2009.

Each component of Panasonic's innovative 3D Full HD production system has unique features. The twin-lens P2 camera recorder enables the capturing of natural and high-quality live 3D images. Thanks to the non-mechanical solid-state construction of the P2 system, the camera recorder will be compact enough to allow more flexible 3D shooting, thereby maximizing the creativity of the filmmakers by eliminating the stress factor from the use of the equipment.

3D Full HD recording using Panasonic's proprietary P2 system also enables recording of two channels of Full HD images on the P2 card. P2's non-mechanical construction and compactness will also be incorporated into the company's 3D image recording and editing equipment to make production in the field highly flexible and efficient.

"Panasonic is continuing its efforts to enable consumers to enjoy 3D movies in the comfort of their own living rooms with its 3D Full HD Plasma Home Theater System, which incorporates a Plasma HDTV and a Blu-ray Disc player," said Dr. Paul Liao, Chief Technology Officer of Panasonic Corporation of North America. "The professional 3D Full HD image production system we are going to develop will improve the 3D production environment and accelerate creation of 3D titles."

Will this Panasonic in-the-home-3D initiative adhere to the SMPTE work that has been done and revealed recently? I will let you know when I know!

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Live In The UK? Free "Coraline" 3D Tickets!

Jim here. Get your free CORALINE tickets in the UK courtesy of The Times!

Check out this link to fill out a form for your tickets. If you don't use them, make sure you cancel them so that others can use them instead.

It seems you need a section of their newspaper as well: "And please remember you will now need to bring the relevant page from the newspaper with you on the day or the screening along with your online reservation confirmation."

From the website:
To claim your 4 tickets, enter your registered email address or if you are not yet registered for the screening programme click the register link.

Movie Passeword: 8544

Certificate: PG
Screening Date: Sunday April 26
Screening Time: 10:00am for 10:30am start
Locations: Basingstoke Festival Place, Bolton, Bristol Cribbs, Camberley, Cambridge, Cheshire Oaks, Croydon Grants, Cwmbran, Eastleigh, Edinburgh Omni, Greenwich O2, Hull, Leeds Kirkstall, Leicester, London West End, Northampton, Norwich, Oxford, Reading, Sheffield, Swansea, York

Still it is a free movie - so have at it!

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More 3D Camera Rigs Coming To Market PLUS 3D Training And Certification!!

Jim here. Well this is very refreshing indeed! Steve Schklair, CEO of 3ality Digital Systems has informed THR that they will be offering their 3flex Camera Rigs for sale: "If this is truly an industry that justifies installing more screens, it has to be much more ubiquitous than three or four production companies."

By offering proven 3D equipment on the market, 3ality Digital is espousing everything that MarketSaw stands for as well - 3D everywhere. In the world I want, 3D will be available to budding filmmakers straight through to the top studio directors - from affordable, yet effective to astounding cutting edge performance capture.

Panasonic has just confirmed that they are also developing 3D production equipment to go along with their stunning visual displays (used by James Cameron).

Pace has built on their acquired 3D expertise with their Fusion 3D System. Silicon Imaging has released an integrated stereo pair of cameras. The RED Ones work wonderfully in 3D configuration and certainly are very affordable for many. Various rigs are being built to house stereo cameras - some very affordable.

And filmmakers are engaging! From small independents to well, some of the best that ever was. All future CG animations from Pixar, Dreamworks Animation and Disney Animation will be in 3D.

Indeed 3D is injecting long lost passion for movie making! Ridley Scott is coming back to do FOREVER WAR after saying that he would never do another SciFi movie as it has all been done before. What changed his mind? He saw Cameron making AVATAR. That's the power of 3D and creative genius - and it is thrilling to see the new life 3D is instilling in the masters.

Moreover, I have been waiting for quite some time for some sort of action to take place in 3D education. Again, 3ality Digital is stepping up to the plate and will offer 3D Production Training and Certification Programs. More details on this when I get it!

I don't know about you, but I see all the pieces coming together! I can't begin to tell you how enthralled I am at how the industry is shaping up. Further, the recent thoughts that the credit market will open up very shortly for expanding the digital/3D screen deployment - aimed for the release of AVATAR is just what the doctor ordered. Lets get it done!

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3D at Home Update: Interview with Chris Chinnock

Hi, Michael here.  Insight Media President and 3D@Home Consortium Board Member Chris Chinnock took some time away from his busy schedule at NAB in Vegas to answer questions regarding the current state of the push towards 3D in the home.  Both publicly and behind the scenes, Chris has been leading the charge towards 3D standards.  Below he gives an update as to the current state of the effort.

Michael: Where in the process towards completing the necessary 3DTV standards (for both a mastering standard, potential necessary HDMI/Blu-ray upgrades, and 3D-capable HDTVs) are we at this moment? Has 3D@Home Consortium finished with its recommendations to SMPTE and CEA, or do you have a continuing involvement? If so, what are 3D@Home, and you personally, focused on presently?

Chris Chinnock: SMPTE has just released their report on 3D formats. It essentially describes a high quality master that is created at the end of the post process. It does not describe how this is to be formatted for distribution, so there is much work to be done there. BDA (Blu-ray Disk Association) is secretive about their process, but the goal is to come up with a standard by end of year. We are working with CEA (Consumer Electronics Association) on a number of issues, and have just reached out to EBU (European Broadcasting Union) to help them. Metrology co-op with ICDM (International Committee for Display Metrology) is well advanced. We have a whole briefing on 3D @ Home at NAB, so I would rather send the sanitized version of those slides after the event rather than discuss here in full detail.

Michael: Do you know whether the Entertainment Technology Center at USC is still involved in the march towards a standard? I am unclear as to what their role has been up until this point.

Chris Chinnock: Yes they are very interested in 3D and have set up a new lab with a bunch of 3D monitors and TVs. They want to have a consumer facing focus in evaluating equipment and content. The 3D @ Home consortium is talking with them about supporting the effort to create a 3D test reel of content and in doing consumer testing of active shutter glasses.

Michael: I am also curious about the 1080p/60fps per eye standard that SMPTE is advocating.  I think it sounds great, and would work perfectly for 60i and 30P material, but wouldn't a 24p movie require some kind of pulldown? Some MarketSaw readers have already expressed concern about this.  I would think (correct me if I'm wrong) that for flawless, judder-free 24p 3D at home that is compatible with 30p and 60i content, the TV would need to be fed two 120fps streams (one per eye), requiring the TV to have the ability to process and display 240 fps?

Chris Chinnock: If 1080p/60 per eye is desired, then in theory, a 120Hz display could do this. The problem is ghosting between the two images. The turn off time for the LCDs and the phosphor decay times for the plasma as not fast enough, so you need to increase speed (essentially going to a 240hz, or 480hz equivalent speed). The Panasonic demo is at 1080/24p as this is the fastest the phosphors and electronics can do in the current PDP to support good 3D (my understanding anyway).

Michael: Given the current state of the effort, what is the greatest challenge going forward in terms of bringing 3DTV into the home?

Chris Chinnock: There are many: improving cost and efficiency of content creation workflow tools; distribution standards thru all media; 3D encoding evaluations and decisions; 3D TV technologies, more content, business models and on and on.

Michael: What do you think are the chances of having a 3D-at-home standard in place in time for the Avatar Blu-ray release (circa May 2010?)

Chris Chinnock: I think goal is achievable and will be achieved (too much money at risk).

Thanks very much to Chris for providing us with this update!

The 3D@Home Consortium was formed in 2008 with the mission to speed the commercialization of 3D into homes worldwide and provide the best possible viewing experience by facilitating the development of standards, roadmaps and education for the entire 3D industry - from content, hardware and software providers to consumers.  Visit the 3D@Home site at www.3dathome.org

Insight Media is a market research, publishing and consulting firm focused on the emerging parts of the display industry.  Visit their site at www.insightmedia.info

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New "Tintin" Set Photo: Facial Performance Capture Camera Revealed

Jim here. Looks like Empire has got the goods on TINTIN as they release their Steven Spielberg guest edited edition this weekend. Looks like there could be some very nice shots coming our way from this edition. What do you pay a top 5 director to edit your stuff? Hmmm...

In this photo, Tintin (Jamie Bell) and Captain Haddock (Andy Serkis) are reviewing a scene with Steven Spielberg and Peter Jackson. I refuse to post *any photo* with ridiculous sized watermarks on it. Sorry. However I have managed some nice images cropped around it posted here. Or you can click that link.

Check out all the tiny white dots on their faces for the performance capture requirements. Those dots will catch every tiny facial motion they make as they act out their scenes. See the tiny camera being held in place in front of Bell's face? That is the camera that captures those facial dot movements. Now you KNOW Gollum is gonna have some fun with that! The facial camera rigs if memory serves is 100% Weta property and they are the world leaders in this technology.

Further, have a look at all the TINTIN comic strips on the walls in the background. Surely these are hints as to what will actually be shown in the movie - are there any TINTIN fans that can shine any light on that? Yes, we know the adventure that will be focused on (SECRET OF THE UNICORN), but what can these strips tell us?

Could someone please scan the magazine (EMPIRE) and send us the photos as I *HATE* posting images with huge, obtuse watermarks on them - like this one. I don't do it (unless hiding a face or something) and I wish other sites wouldn't either. With scans at least we can post something viewable. Thanks!

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How To Get 3D Into The Home: 200 Experts Met For Six Months - Report Now Available

Jim here. I have had the privilege of viewing one of the initial copies of "REPORT OF SMPTE TASK FORCE ON 3D TO THE HOME" prepared by the Society of Motion Picture and Television Engineers (SMPTE).

We are finally getting some clarity on how to accomplish this! For so long now we have been waiting for direction because for a truly elegant and pragmatic 3D motion picture industry we need to complete the cycle from theater screen to home theater screen to portable devices.

Here is what they set out to do (excerpt from report): The effort was initiated on Aug 19, 2008. At the initiation of the effort, the task force was chartered with defining “what standards would be needed to establish rapid adoption of stereoscopic A/V content from content mastering to consumption in the home via multiple types of distribution channels (e.g., packaged, broadcast, satellite, cable, internet) with consideration for downward scalability (e.g., portable/mobile).”

First of all let me tell you that they include a comprehensive glossary of terms that is certainly needed to ensure everyone is talking the same concepts as this 3D technology is booming.

Secondly they break out use cases! They examine various real life scenarios that a typical end user may encounter and they address it in their study. For example, a user wants to view 3D media on his glasses-required bedroom 3DTV, but also wants to view that same media later on his no-glasses 3DTV in his living room. Not only that but the sets are different sizes. The report sets priorities on all these use cases and their relevance to the 3D in the home standard.

Finally they expose the requirements needed for the 3D in the home standard INCLUDING resolution and frame rate. I can tell you that they set out image file requirements up to and including 1920x1080 with frame rates up to and including 60p per eye. Backward compatibility is addressed as well with 2D.

Their biggest concept is the notion of a single standard 3D Home Master which coexists with other masters after post-production and for theatrical screening. A lot of detail has gone into defining how this 3D Home Master should look and behave.

Of course they had to touch on display technologies as well - interesting read!

So I encourage you to purchase this resource from the SMPTE if you have any interest in the journey we are taking to get 3D movies and content from the big screen and into our homes. The 75 page report in PDF format sells for $20 at the SMPTE store right here. Hard copies of the report will also be on sale at the SMPTE booth at NAB.

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3D Geek Alert: Check Out The EON ICUBE - Today's Holodeck?

Jim here. A reader sent this one in for me - thanks Jason!

We have seen similar devices (here), but have a look at the EON ICUBE which from what I understand is a large cube that you can walk around within and have 3D video projected from the rear on to its walls, floor and ceiling in perfect synchronization. The user wears passive polarized 3D glasses (like RealD's tech).

Apparently it is PC based and offers some add on peripheral devices such as force feedback devices and gesture gloves for integration. It does detect user movement as well - must be to optimize the 3D viewing experience. The handheld device you see them using in the video allows them to "fly" around the scene! How cool is that?

If you mix in force field technology like what I talked about here, we are getting pretty close to some semblance of a Holodeck :-)

Oh and the ICUBE goes for about $600,000. Ouch. Well who needs a house anyway - have one of these puppies set up in a storage unit somewhere...

Original Source: Fubiz

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English National Ballet Performance of "Swan Lake" at NAB in 3D

Rochelle Winters, Special Correspondent for MarketSaw reporting:

Attendees to Sky’s 3D guru Gerry O’Sullivan’s keynote Monday afternoon at the NAB Show will be able to experience what’s next in arts and entertainment in 3D. They’ll get to see the first 3D ballet--Swan Lake performed by the venerable English National Ballet.

In addition to a bit of rugby, attendees will see footage from the recent 3D broadcast of the huge, UK rock band Keane, captured before a live audience at Abby Road Studios, where the Beatles performed in the first live, worldwide, satellite broadcast.

Registration to the supersession and keynotes is still available: www.nabshow.com/you

Jim here - looks like a great lineup of different genres of 3D! Wish I was there this year... Thanks Rochelle.

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"Horrorween" 3D Webisodes to Debut September 1!

Hi everyone, Michael here. I'm very excited to announce that starting September 1, you can catch your first glimpse of Horrorween at www.Horrorween.com with the arrival of weekly Webisodes in Anaglyphic 3D!

The 3D Webisodes will introduce the community of Horrorween fans to the characters and the storyline before the movie releases.

This announcement is especially significant in that the Horrorween Webisodes will be the first 3D Webisode series ever. Internet series are a rapidly growing format, and now Horrorween will bring Webisodes to the next level...3D. I would expect this to be the beginning of a new trend in 3D internet series. Horrorween has been a trailblazing project from the very start due to its unique production process, 3D technology, and organically viral marketing originating almost solely through the enthusiasm of horror and 3D movie fans. The first-of-its kind 3D web series will be another feather in its hat.

The full celebrity cast for the Webisode series will be announced in June. However, Nancy Spielberg, Chuck "Dead Body Guy" Lamb, Joe "Sheen" Estevez, Ed Meyer, Raquel Brussolo, and Michael Lohan (Lindsay Lohan's Dad) are starring in the full Horrorween film.

Also worth noting is that there will be no advertisements to sit through when watching the Webisodes!

Horrorween is directed by Joe Estevez and produced by Ed Meyer.  The film has almost finished with principal photography, and post production has begun.

Read more about Horrorween at http://www.horrorween.com

Editor's note: Yes, that is our own Michael Stat in the movie... :-)

Photo: Michael Stat (left) and Jacob Roland (right) on the Horrorween set. (credit Hans Nilsson)

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The 3D Technology Behind "Tron2", "Step Up 3-D", "Final Destination 4" and "Avatar"

Jim here. There has been some recent media attention placed on the technology being used for TRON 2 and I just wanted to bring everyone up to speed as to what is fully being used for the stereoscopic 3D.

Peter at Slashfilm is quite correct in stating that they are using Sony Digital F-35 HD cameras. But here is some more detail on TRON2's 3D tech:

1. The F-35s are being also being used with Arri Master Primes. These lenses are SPECTACULAR for creative capture.
2. Principal photography on TRON2 is being done using the Pace FUSION 3D System.
3. I should have some exclusive shots of the 3D equipment shortly. STAY TUNED.

By the way, STEP UP 3-D is also using the Pace Fusion 3D camera system as is FINAL DESTINATION 4 and a little project called AVATAR.

For those new to MarketSaw, the Pace Fusion system was co-invented by Vince Pace and director James Cameron.

Clearly Pace is one of the leaders along with 3ality. Great to see quality equipment and services being used for these productions - it really gives me a good feeling when looking forward to the best 3D experience possible.

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Quick Post: SMPTE Wants 1080p/60fps per-eye 3DTV Standard Within a Year

UPDATE: 4/16/09 - Michael here.  After reading the full SMPTE task force report, it is clear that 24p 3D content is still a possibility, as the image file is required to contain video resolutions "up to and including 1920x1080 and native frame rates up to and including 60p per eye view."  It seems from the wording that since 24p is a native frame rate, the image file will be required to contain it if the source material is 24p.  Whether we will actually able to see 24p 3D content displayed without pulldown will be determined by the technology of the display.  Hopefully CEA will work on solutions for this.

UPDATE: 4/15/09 - Michael here.  I, as well as MarketSaw readers, have been thinking/worrying about how 24p 3D content will be displayed using this standard. Hopefully, there will be a solution such that no pulldown or other types of messing with the original frames is required.  Perhaps variable frame rate TVs that can display at both 120 and 96 hz?  I'll let you know as soon as I find out how the players involved will be handling 24p content.

Michael here.  I agree with Jim (see article below) that lousy 3DTV will do nothing but slow the widespread adoption of 3D by the consumer electronics industry, primarily by misleading consumers with a subpar product.

Those of us wishing for the highest possible quality in 3DTV, however, may have cause to celebrate, as SMPTE (a major player in creating the DCI standard for Digital Cinema) announced on Monday that they hope to finish a 3DTV standard within a year.  And, wisely, they have decided that this standard should be 1080p at 60 frames per second, per eye.  This is equivalent to what Panasonic has been demonstrating with its uber-impressive 103 inch 3D plasma.

The SMPTE standard will rigorously define the requirement for a "3D Home Master", which studios or game publishers would deliver as source material for Blu-ray disks, broadcasts and internet downloads.

The best news about this is that the 3D images will be delivered to various mediums without sacrificing resolution or frame rate.  And a year from now seems like the perfect time to debut the new standard with the Avatar Blu-ray!

source: EETimes

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Quick Post: New 3DTV Network In The Works - AMG

Jim here. Seems like we may have an early 3DTV player taking a swing at becoming the first 3D network reports Variety. In multifaceted deals, Signet International Holdings is buying AMG TV (syndication network of 200 affiliates) and at the same time they are licensing Kerner Broadcast Corp's 3DTV technology for the 3D side of things.

So how do they get 3D into the home? Well, this is where it kinda breaks apart for me - it is not really clear. What is clear is that it is a cheap solution and that scares me. We don't need cheap here at all - we need a standard way of delivering 3D to the home across the board and not a proprietary solution that costs only $50. Yep. $50. They claim they can distribute this HDTV add-on for that price - which includes the glasses. Here is the kicker, the CEO of Kerner says that the 3D technology is a 5 on a scale of 1 to 10 for quality.

Apparently the programming will be focused on family oriented, general material.

The lousy quality bothers me. It reminds me of anaglyph glasses and how it is marring the identity of modern 3D. Who knows - maybe this announcement will wake the big networks into action which would definitely be a good thing, while at the same time ironing out a new 3DTV home standard.

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Silicon Imaging Digital Cinema Cameras Officially Offer Elegant 3D

Jim here. Got wind of this exciting news and I had to pass it on to you - these guys know what they are doing and I have heard first hand from Directors, DPs and others that the SI2Ks in stereo configuration is awesome and a must have in various situations.

Ari Presler, CEO of Silicon Imaging sent me this press release a day early for you guys as they are announcing this at NAB 2009 tomorrow. It is my pleasure to be the first to introduce this to you... Integrated Digital 3D Cameras with a small form factor for those tough shots...

Here is the full press release:

Hollywood, CA - Silicon Imaging, the company that enabled the digital shooting of this years Oscar winning Best Picture Slumdog Millionaire, is now changing the face of stereo-3D cinematography and production. The company unveiled the world’s first integrated 3D cinema camera and stereo visualization system at NAB 2009. The SI-3D shoots uncompressed raw imagery from two synchronized cameras and encodes directly to a single stereo CineFormRAW QuickTime file, along with 3D LUT color and convergence metadata. The stereo file can to be instantly played back and edited in Full 3D on an Apple Final Cut timeline, without the need for proxy conversions.

Traditionally, 3D content was captured from two independent left and right cameras, each with its own settings, color controls, record start, timecode, content management and monitoring outputs. A variety of complex devices would be used to synchronize the recordings or combine the outputs for viewing. The content would then have to go through a tedious process of being ingested or converted to formats compatible with the editing or grading systems, matched up from the independent left and right sources, flipped if the shot was on a beam splitter and the timeline adjusted to have the first frame overlapped. A color grade could then be applied, convergence adjusted and finally a stereo image viewed for dailies playback.

"The SI-3D camera system streamlines the entire stereo-3D content acquisition and post production process;” states Ari Presler, CEO of Silicon Imaging. “Combining two cameras into a single control, processing and recording platform enables shooting and instant playback like a traditional 2D camera with the added tools needed on-set to analyze and adjust the lighting, color, flip orientation and stereo depth effects. In post, a unified stereo file plus associated metadata can be immediately graded for dailies, edited, and viewed in either 2D or 3D.”

The SI-3D system uses two remote SI-2K Mini cameras with an P+S interchange lens mount connected to a single processing system via gigabit Ethernet where they are synchronized and controlled through the familiar SiliconDVR touchscreen interface. On-set, each camera can be viewed individually or in stereo mixed modes using modern 3D LCD and DLP displays. Various tools are used to visualize and adjust the focus, lighting and 3-D effects including alignment grid overlays, false color zebras, digital zooming, edge detection, spot meters, dual histograms, parallax shifts, anaglyph mixing and wiggle displays.

Unlike modern HD cameras, which develop and compress colorized imagery, the SI system captures raw “digital negatives” where they are non-destructively developed and colorized for preview using the cinematographer's desired "look" for the scene. This color metadata, along with stereo convergence, flip orientation from beam splitter rigs and alignment data are encoded into a single CineFormRAW QuickTime stereo file. These files can be edited directly in Apple Final Cut without the need for conversion or rendering. With the addition of CineForm’s Neo3D, convergence plus stereo or individual eye color adjustments can be dynamically controlled and modified, while viewing live 3D playback using side-by-side, over-under, or interlaced output modes.

“Driven by increasing numbers of 3D film projects planned by Hollywood studios, the demand for efficient 3D camera and post workflows has increased significantly in the last two years,” said David Taylor, CEO of CineForm, Inc. “The combination of the Silicon Imaging SI-3D camera with CineForm high-fidelity compression-based 3D workflow will significantly reduce overall project complexity and costs.”

"The Silicon Imaging camera’s form factor and flexible lens mounting system enable us to develop innovative lightweight beam-splitter and parallel rigs to shoot steadicam and hand-held stereo footage with incredible latitude and film like results" stated Max Penner, CTO of ParadiseFX. "We have the SI Mini’s as part of our 3D camera package to shooting feature films including Thomas Jane’s “Dark Country 3D”, Patrick Lussier’s, “My Bloody Valentine 3D” and Joe Dante’s “The Hole 3D”."

The SI-3D system is also establishing new benchmarks in image quality and data rates with its ability to record dual-stream 12-bit uncompressed raw directly to mobile 2.5” SSD (Solid State Drives), with peak rates up to 200Mbytes/sec (1.6Gbit/sec). A 250 GB drive can store up to 1-hour of footage per camera. The resulting Silicon Imaging Video (.SIV) footage can be seamlessly viewed and graded directly in Iridas FrameCycler and Speedgrade XR with look and stereo metadata applied. The files can also be exported as a CinemaDNG sequences or converted to CineFormRAW 2D or 3D files, at a later time.

“There is an incredible amount of latitude and resolution from the Silicon Imaging cameras” states William White, CEO of 3D Camera Company. “Shooting directly to SSD gives us the flexibility to record stereo footage in an extreme lightweight and rugged configuration as shoulder or vehicle mounted for ‘Rescue 3D’ and even body worn for shooting from a skydiver in the upcoming ‘Human Flight 3D’. The SI-3D system with on-set visualization and integrated stereo workflow will speed up our entire shooting and production process for creating compelling 3D content.”

Silicon Imaging will be demonstrating the SI-3D system at NAB 2009 in Booth SL11605.

About Silicon Imaging Silicon Imaging, Inc. is the leader in IT-Centric Digital Cinema cameras, Stereo 3D recording and RAW workflow solutions. Silicon Imaging is enabling cinematographers and television productions the ability to shoot film-like content with greater latitude, superior color management and more efficient workflows than alternate raw or traditional tape-based HD cameras. The Silicon imaging cameras were used for the ground breaking digital shooting for the 8-time Oscar winning Slumdog Millionaire, which included Best Picture and Best Cinematography. Visit us on the web: www.si-2k.com

The things I like about this system is that it is proven, integrated and elegant whereas before cameras had to be, for lack of a better word, "hacked" together. I am so excited that mainstream solutions are really starting to take off now for 3D filmmakers. After speaking with many filmmakers over the past year who were engaged with the SIs like Thomas Jane - I have no issue with endorsing this 3D solution - which is now even better. Check them out at NAB!

Mr. Presler's image courtesy of The Business Review (Albany)

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James Cameron to Speak on "Avatar" at "Produced By" Conference

Michael here.  James Cameron will be speaking June 6 on "Seeing the Future in 3D" at the Producers Guild of America's inaugural Produced By Conference, to be held at Sony Pictures Studios in Los Angeles from June 5-7.  

This should, of course, be a fascinating talk.  And hopefully it will help continue the momentum towards not only 3D movies, but also towards movies that are bleeding edge in terms of visual effects, performance capture, and production pipeline. 

For more information or to register, head over to www.producedbyconference.com.

Press Release from the Producers Guild of America (via vfxworld)

LOS ANGELES, Calif. (April 13, 2009) -- If sinking the Titanic was a filmmaking and storytelling marvel that led to the largest grossing film of all time, then Jim Cameron's AVATAR has the industry buzzing about what the maestro of mega-films has up his sleeve with his next hotly-anticipated holiday season blockbuster. Attendees at the PGA's inaugural Produced By Conference will get to hear first-hand from Cameron when he makes a rare appearance to discourse on "Seeing the Future in 3D," June 6 at Sony Pictures Studios.

Cameron, a pioneer of digital 3D filmmaking, will unveil the craft behind the making of AVATAR with its combination of live action 3D and computer-generated, photo-real visual effects. AVATAR, to be released by 20th Century Fox in December of this year, is one of the most highly-anticipated films ever and is Cameron's first narrative film since TITANIC, the biggest box office hit of all time.

The Oscar-winning producer-director plans to emphasize where filmmaking is now and where it is going, both creatively and as a business.

Cameron's "Seeing the Future in 3D" is one of more than 30 extraordinary lectures, panels, and workshops at the Produced By Conference. Other producers on the dais and the panels for this first-of-its-kind event include Betsy Beers, Ian Bryce, Bruce Cohen, Roger Corman, Carlton Cuse, Clint Eastwood, Mark Gordon, Marshall Herskovitz, Gale Anne Hurd, Kathleen Kennedy, Norman Lear, Bill Lawrence, Ali LeRoi, Michael London, Gary Lucchesi, Jim Morris, Gordon Paddison, Sabrina Wind and more. A complete list of sessions can be found at www.producedbyconference.com.

Here are some more 3D-related sessions that will take place at the conference:

A NEW DIMENSION: 3-D STEREOSCOPIC PRODUCTION
This year alone, over fifteen brand new 3D releases will hit the big screen including successful openings such as My Bloody Valentine and Monsters vs Aliens. This panel of 3D experts will provide critical information to get you started, advice on building the right team as well as creating a workable and affordable timeline. Plus, there will be demonstrations of various products and techniques-- so you can see first hand which 3D technology is best for your project. This panel will help you ask the right questions and avoid important pitfalls through your entire production from pre-visualization to post.

THE COLLABORATIVE PROCESS OF VISUAL EFFECTS: FROM PRE-VIS TO POST
Some of the film industry's most experienced visual effects wizards provide a thorough overview of VFX process, starting with the earliest concepts in pre-visualization all the way through the final hurdles of post-production. Learn the importance of utilizing all departments in the prep phase of production - including production design and cinematography -- to create a unified creative vision in both high-budget and low-budget environments.

PERFORMANCE/MOTION CAPTURE PRODUCTION TECHNOLOGY
Superstar techies will enlighten us with real solutions and insights to capture "human performances." Demo the next-stage advances behind the production of computer-generated figure and participate in an interactive workshop discussing the latest applications and entertainment platforms.

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"The Legend of Spyro 3D" Animation Coming Next Winter

Jim here. I have just gotten wind of this movie being in 3D so BLAM! ...up it goes on MarketSaw. Producer John Davis (GULLIVER'S TRAVELS; AVP; I, ROBOT; DAYLIGHT; PREDATOR) is attached to THE LEGEND OF SPYRO 3D. The director is Mark Dippe.

Based on the best selling video game (20 million units +), it is a story of a young dragon whose destiny is to battle evil forces in Dragon World. Spyro must learn to fly, breath fire and battle aided by his friends and family.

I have an email into the production company to ensure that this is in fact a stereoscopic 3D production and not another animation claiming to be 3D (Yes I claim the terms 3D and 3-D for stereoscopic movie industry!). I have never heard of an animation that would place 3D in the working title and poster of the movie if it is not in stereo.

Some pretty good voice talent is attached to this production: Gary Oldman plays Ignitus (sounds like a fire breathing dragon wha?) and Elijah Wood voices Spyro. Animation is by Animation Picture Company.

Well to me these guys are going up against the giants of the animation industry (Pixar, Disney, DWA, Sony) and will undoubtedly be compared to them. Don't know if they can pull that off - but here's hoping. I do like the premise.

Apparently they are releasing the movie on February 19, 2010 in Turkey - however there is tight competition that time of year in North America with TOY STORY 2 opening February 12, 2010 and ALICE IN WONDERLAND on March 5, 2010.

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Adam Shankman Hints "Hairspray 2" To Be Shot In 3D

Jim here. Got a little interesting news from Collider via FirstShowing that Adam Shankman may be considering HAIRSPRAY 2 in stereoscopic 3D. As you already know, Shankman is producing STEP UP 3-D so he is finely tuned into how to best present dancing/musicals on the big screen.

Some words from Shankman: "There are some really funny ideas, [but] we don't have a writer for it yet.

We were blown away with the tests we just did [for Step Up 3-D] and seeing the dance in 3D, and an arm coming out and flips that are going by your head. It was such an incredible experience.

Yeah, that would be cool in 3-D because it has a pop-sensibility. 3-D should be regulated to things with a pop-sensibility because that’s the experience you want from those kinds of films."

So, obviously you guys know I disagree with Shankman by about 95% regarding his "pop-sensibility" comment. The future of 3D lies in adding depth and inviting the audience INTO a movie rather than blasting them with fireballs and spear tips. Sure, an inventive use of a popping gimmick can sometimes liven up a horror movie or comedy - but the bottom line is 3D must be used well as another option on the palette of the director.

Will STEP UP 3-D and HAIRSPRAY be great 3D movies? Hard to say right now. I have not seen one frame yet and those comments by Shankman do set me back a bit. I do feel though that dance movies, concerts and some live events can get away with some of that "comin' at ya" 3D - just not too much of it.

In the meantime, bring on more! I just saw KA (Cirque du Soleil show) at the MGM Grand in Las Vegas and was thinking how good it would look on the big screen in 3D. Why not?

Shankman image courtesy of Richard Chavez

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TRON 2 Shooting in Vancouver NOW

Jim here. My friend Peter over at Slashfilm has got a great local source in Vancouver for the filming of TRON2 which of course is a stereoscopic 3D production. He has provided the set shot seen here as well as a visual report...

Here is what /Film's source had to say:
"They have been spending some crazy money here. They have been blocking off huge main sections of downtown for some pretty awesome looking action scenes. I saw tons of police cars chasing a guy hanging on to the top of a taxi. There were huge cranes holding up a stunt wire rig rig like I have never seen before. There is definitively some impressive non light cycle real life action in this movie. They have also transformed the tallest building in the city with huge encom logos and futuristic lighting. I was in total awe of how much equipment and gadgets they had. Everything I’ve seen them doing in the last five days is easily some of the most expensive stuff I’ve ever seen. It’s probably is $300 million, even if it’s Canadian dollars. I only managed to grab this crappy still with the big logo and some futuristic room above."

To me, the production of TRON sounds like it may impact the city as much as the 2010 Winter Olympics! Damn, wish I was still living in beautiful Vancouver so I could catch some of this action.

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"Avatar" Books Available for Pre Order!!!

(Click through to story first before Reddit voting if you are on home page!)

**UPDATE: April 13 - Should be noted that Peter Jackson is writing the foreward for "The Art of AVATAR" - expect some great comments about the effects that Weta has done for the movie as well as 3D and its bright future!

**SAME DAY UPDATE: Hey guys - Jim here. I have uncovered yet another book up for pre-order:

Avatar: The Field Guide to Pandora (Paperback)
http://www.amazon.com/Avatar-Field-Guide-Pandora/dp/0061896756/ref=sr_1_1?ie=UTF8&s=books&qid=1239475156&sr=1-1

Paperback: 192 pages
Publisher: HarperEntertainment (December 1, 2009)
ISBN-10: 0061896756
ISBN-13: 978-0061896750

It is interesting to note that the publisher shows the release date of this book at Dec 1, but HarperCollins Canada (from Amazon.ca) shows their release as Nov 18.

Michael here. This is awesome. I can't wait to lose myself in Pandora. Cameron is going all out when it comes to making Avatar a truly encompassing, cross-platform experience. With UbiSoft's game, Mattel's toy line, and now these books, audiences will be able to experience Cameron's world through a variety of mediums. Many will probably choose never to leave. I can't wait to see what else he has planned.

Here are the books that have been announced so far:

The Art of Avatar: James Cameron's Epic Adventure (Hardcover)

http://www.amazon.com/Art-Avatar-James-Camerons-Adventure/dp/0810982862

Product Description:

Academy Award-winning writer/director James Cameron, the maker of Titanic and the creator of the Terminator series, has been crafting Avatar for over four years. The film follows the story of an ex-marine who finds himself thrust into hostilities on a distant planet filled with exotic life forms. As an avatar, a human consciousness in an alien body, he finds himself torn between two worlds, in a desperate fight for his own survival and that of the indigenous people. The Art of Avatar, the companion book to this epic 3-D action adventure, explores the developmental and conceptual art used by the creative team to create the original world of Avatar.

With over 100 exclusive full-color images including sketches, matte paintings, drawings, and film stills, The Art of Avatar reveals the process behind the creation of set designs for the imaginative vistas, unique landscapes, aerial battle scenes, bioluminescent nights, and fantastical creatures. Interviews with art directors, visual effects designers, animators, costume designers, and creature makers bring insight into this creative process. The Art of Avatar brings readers behind the scenes of this unprecedented moviegoing experience.

About the Author:

Lisa Fitzpatrick has been a writer and editor for over 15 years. She has reated illustrated books for a wide variety of films and television shows including Kung Fu Panda, 24, Star Wars, Shrek, Madagascar, and The X-Files, as well as anniversary editions for Sony Pictures Imageworks and the USC School of Cinematic Arts. She lives in San Francisco. Peter Jackson is a three-time Academy Award-winning director, producer, and screenwriter, best known for The Lord of the Rings trilogy. Jon Landau is an Academy Award-winning producer and former executive vice president at Twentieth Century Fox, and is currently a partner in James Cameron's Lightstorm Entertainment.

Product Details

Hardcover: 108 pages

Trim Size: 11 7/8 x 10
Publisher: Abrams (November 1, 2009)
Language: English
ISBN-10: 0810982862
ISBN-13: 978-0810982864

James Cameron's Avatar: The Movie Scrapbook (Paperback)

http://www.amazon.com/James-Camerons-Avatar-Movie-Scrapbook/dp/0061801240

Product Details
Reading level: Ages 4-8
Paperback: 48 pages
Publisher: HarperFestival (November 24, 2009)
Language: English
ISBN-10: 0061801240
ISBN-13: 978-0061801242

James Cameron's Avatar: The Na'vi Quest (Paperback)

http://www.amazon.com/James-Camerons-Avatar-Navi-Quest/dp/0061801267

Product Details
Reading level: Ages 9-12
Paperback: 64 pages
Publisher: HarperFestival (November 24, 2009)
Language: English
ISBN-10: 0061801267
ISBN-13: 978-0061801266

James Cameron's Avatar: The Reusable Sticker Book (Paperback)

http://www.amazon.com/James-Camerons-Avatar-Reusable-Sticker/dp/0061801275

Product Details
Reading level: Ages 9-12
Paperback: 12 pages
Publisher: HarperFestival (November 24, 2009)
Language: English
ISBN-10: 0061801275
ISBN-13: 978-0061801273

Bioluminescent nights confirmed! Watching (or should I say, living) those scenes in photorealistic 3D should be a transportive, mystical experience. Fox and Cameron have been relatively quiet until now in terms of Avatar marketing and publicity, 3D evangelism aside. But now the deluge is almost upon us...can you feel it?

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XpanD 3D System Demoed at "Battle for Terra" Screening

Michael here.  At ShoWest last week XpanD showed off their 3D system at a screening of Lionsgate /Roadside Attractions' computer animated film Battle for Terra.  XpanD is a name you may not be too familiar with if you live in the United States, as the vast majority of 3D screens here utilize Real D's system.  In Europe, however, Real D and Dolby both trail behind XpandD in number of screens.  And in China, XpanD has a near monopoly.

As opposed to Real D's polarized glasses / silver screen combo, XpanD utilizes active lcd shutter glasses and a regular, non-silver screen.  From this screening alone (my first theatrical experience with the XpanD system) I had a difficult time judging any difference in the quality of the 3D experience offered by XpanD, as opposed to that of Real D or Dolby.  However, I can say that XpanD's new X101 Series glasses are great.  Compact and comfortable, they performed perfectly during the movie.  I've had trouble in the past with other brands of lcd shutter glasses in regards to the glasses becoming out of synch with the movie/tv screen, or with the lcd in one or both of the lenses occasionally becoming stuck on the black (blocked) setting.  XPanD has overcome this problem.

Battle for Terra itself is an oddity amongst animated films, to say the least.  There was not a single audible laugh from the audience at any point during the screening--and that may have been the filmmakers' intention.  After all, they've gone very serious with the anti-war message of the film, which is portrayed with all the skill and subtlety of a jackhammer to the skull.  If this film strives for artistic credibility, however, it is undercut by the Saturday morning cartoon quality CG work, phoned-in voice acting, tensionless script, predicable storyline, and a truly awful C-3PO ripoff robot sidekick character (hmm, I guess they were going for laughs afterall.)

And yes, Battle for Terra "borrows" heavily from various aspects of the Avatar scriptment.  But believe me - it borrows, but it has no idea what to do with these ideas.  Overall, this movie strikes me as a cynical ploy to simultaneously cash in on the 3D bandwagon and the excitement for Avatar.

I must emphasize that the XpanD 3D system was great--I hope they continue to work with 3DTV manufacturers to bring their system into the home.  It was the movie that was offensive to the senses.

Graphic courtesy of Charlotte Jones of Screen Digest

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Patrick Lussier Talks "My Bloody Valentine 3D" Behind The Scenes

Jim here. ICG Magazine has a super interview with Patrick Lussier, director of MY BLOODY VALENTINE 3D (MBV3D) in preparation for his keynote address at NAB 2009 in Las Vegas.

The whole interview demands to be read from top to bottom right here.

Here are some excerpts:

ICG: What were some of your early concerns about working in 3D?
Lussier: Just being able to speak the language of 3D movies. We were going to be almost 95 percent location, shooting in real-world environments and, in particular, underground in a mine with the 3D cameras. Some of the 3D companies we talked to were very concerned and said, ‘Our cameras are very delicate and you can’t really be doing that.’ Then we found Paradise [Paradise FX Corp, Van Nuys, Calif.)] and they said, ‘We can do anything you want.’

ICG: Tell me about the cameras you chose and your experience using them.
Lussier: We used a set of dual RED cameras as our primary rig. We also used the 2K Silicon Imaging cameras for our Steadicam rig. About 60 to 70 percent was shot on the REDs and 30 to 40 percent was shot on the SIs.

ICG: What was it like working with a stereographer?
Lussier: We were so lucky to have Max [Penner] who was great at explaining what he was doing and what he needed to do. The big thing was for him to see the rehearsal of the shots, especially any shots that moved, to see how the stereography needed to be adjusted to get the shot. Just like a focus puller needs to figure out where his focus marks are, the stereographer needs to figure out where his stereo marks are. In the beginning, it was a constant challenge to remember that everything had to be set for stereo, and it’s not as obvious as setting focus where you can tell that the thing that’s supposed to be in focus either is or isn’t. For stereo, it’s deciding the point you want, and the part of the frame you want, to be out as well as how far out you want it to be. For example, is it in the audience, is it behind the audience, how deep does it go? So, it’s much more subjective and has a much more artistic role than focus. Max has been involved in 3D for years and years, and has such a deep understanding of how stereo works and how it is best presented to an audience in terms of not becoming painful or a downright mistake. For example, making sure the intraoculars are done right or how to avoid miniaturization.

ICG: How does a stereographer impact the roles of, and relationships between, the director and the DP?
Lussier: It’s only an advantage. Brian and I worked together before, and our relationship was almost exactly the same during this movie. The stereographer is much more like the focus puller, but as it relates to the subtlety or ‘in-your-faceness’ of the 3D. I would frequently ride with the stereographer watching a shot to see where the 3D was going, and what things are being brought more or less into 3D. For example, if you have more light, you have more 3D, and Brian and I would discuss when we wanted to see more or less 3D. There would be that kind of creative debate between us as it related to the 3D. Max would throw out suggestions about how to enhance the 3D moments, and also offer suggestions about framing. For example, he’d let us know if someone or something that was too much on the edge of the frame so that during exhibition, one eye would see it and the other eye wouldn’t. Max and I would also have discussions about what’s going to proceed or follow a shot where I want to pull something way out into the audience, because those things can impact how far out you can ultimately pull, or whether you’ll have to immediately go into a dissolve.

ICG: Is this just one more market trend in 3D’s history, or is the format finally here to stay?
Lussier: I think 3D is remarkably seductive and a very intoxicating storytelling tool. I think it has all the potential to continually capture audiences and envelope them into the cinematic experience. … For example, there was a moment when we shot in the grocery store and you could see all the details of everything, and the shot in 2D seemed rather ordinary, but in 3D, it had a life unlike anything else. It was literally like we were eavesdropping. Having said that, I think the tell will be if enough venues convert to 3D so that you can have two or three 3D movies in release at the same time. Ultimately, it’s up to the exhibitors to drive this. If we hit that point, then yes, 3D has the potential to not just take off but take over. It could hold the same potential as when we went from black-and-white to color.

Love hearing BTS stories especially about those lovely REDs. Was surprised to hear other companies express concern over location shooting - should be no out-of-bounds in filmmaking if you ask me. Great interview ICG!

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3D Geek Alert: Stunning Photo Real CG Faces

Jim here. I was awestruck when I saw these images - completely done via computer software and very talented artists. Keep in mind these are STILL images - not a motion picture but it still shows the beginning of what is possible with modern CG technology.

Title: Song Hye Kyo
Artist: Max Wahyudi
Software: 3ds max, ZBrush
























Title: Canny
Artist: Lee Perry-Smith
Software: Lightwave 3D, Photoshop, ZBrush





















I am amazed at the human likeness! Definitely approaching or CROSSING the uncanny valley right now! We are witnessing history here guys. This is big stuff.

Source: CG Society

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Live in Arizona? Wanna Be Eaten By Piranhas in 3D? Look No Further!

Jim here. Good Faith Casting is about to open their doors to movie extras for Alexandre Aja's horror PIRANHA 3D. They are located in Lake Havasu, AZ and payscale is a typical minimum wage with time and a half after 8 hours. Oh and you are feed as well - onsite catering. But of course you don't go for the money but the thrill of it and this project has fun written all over it.

Watch out for casting scams though - some are already on the go. The bottom line is you should never have to pay someone to be considered for background role. If they are asking for money a red flag should go up.

There are also some opportunities for some one-liners in the movie and you do get paid more for these. Speaking roles also contribute toward potential membership in the Screen Actors Guild at some point. Most speaking roles are cast through NYC, LA or Phoenix though.

Here are the contact details if you are interested!

Good Faith Casting Office
Travis McAfee and Chris Davis
209 English Village, close to L.A. Styles.
No set hours yet and a drop-in visits not encouraged.
Hotline: 928-575-6518 (Email is preferred however).

You should also e-mail the following to be considered as an extra: full body photo, face photo, and your contact information to havasuextras@gmail.com.

Trust me when I say this - background acting can be a blast! I was a viking in Jim Caviezel's OUTLANDER and everday was awesome. For someone interested in career in acting, it is a good way to get acquainted with what is involved and behind the scenes operations. Heck I would go just to see the 3D cameras and Aja in action!! If you do decide to sign up, let me know - my email is jim marketsaw com. Good luck!

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3D Everywhere - 2009 NAB Show

By Rochelle Winters - NAB Keynote and Supersession Programmer and Special Correspondent For MarketSaw

Stereoscopic 3-D will be everywhere at the 2009 NAB Show (April 18 – 23 in Las Vegas). Friday, April 10, is the last day to register for a free exhibits only pass (enter code HW01). PGA, VES and FIND members receive $ 100.00 off conference entrance fees (info on the org’s websites).

SUPERSESSIONS AND KEYNOTES - (www.nabshow.com/2009/education/supersessions.asp)

Monday afternoon, April 20, is a hot time with several premieres . Henry Selick will keynote about creating an optimal brew of traditional and new technologies (3-D of course), and speak about “Coraline” in this context. BSkyB’s 3-D honcho, Gerry O’Sullivan, will be unveiling lots of stereo 3-D footage from the network’s library – sports, serial programming, music—in his keynote about 3DTV. Sky just road tested its 3DTV solution last week, and is in an enviable position to push the go button (if it so desires) because it both creates and distributes its own content.

The afternoon ends with the 3-D alternative content supersession in which Globo TV’s Jose Dias will premiere the first footage from the Carnival 3D/Rio de Janeiro production (shot two months ago). He will do so as part of a panel discussion on alternative 3-D content that includes execs from the NBA, AEG Network Live, Cinedigm and Sky.

DIGITAL CINEMA SUMMIT - (www.nabshow.com/2009/education/digitalCinemaSummit.asp)

The Digital Cinema Summit (April 18, 19) is called 3D Cinema and Beyond: Lens to the Living Room and is all about 3-D mostly from the technical side. Highlights include a session on 3-D sports featuring Vince Pace (NBA games), Fox’s Jerry Steinberg (BCS Game), advances in 3-D cinema technology (Dolby, XpanD, Sony and Real D sharing the stage) and keynotes from Patrick Lussier (My Bloody Valentine) and Mark Zoradi (Disney)

CONTENT THEATER - (www.nabshow.com/2009/education/sessiondetail.asp?id=159772)

Pixar Case Study, focusing on the making of “Up” and “Toy Story 2” in 3D

SHOW FLOOR

There’s a 3-D pavilion with companies across the entire 3-D supply chain including 3ality, Nvidia, Philips and 3D@HomeConsortium. Exhibitors throughout the Show will also be showing their latest 3-D offerings.

This sounds like an awesome 3D lineup this year for NAB. Having just come from ShoWest, I can personally vouch for the overwhelming support 3D is attaining in the industry. 2009 is definitely the Year of 3D. Thank you Rochelle for this update and I look forward to hearing more from you as the show progresses!

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David Fincher Visits "Avatar" - Set To Shoot "Rendezvous With Rama" In MoCap 3D?

Jim here. I just got some rather interesting news from one of my new sources about recent visits to James Cameron's AVATAR production:

"I can't say too much about Avatar, I'm sure you understand, but I can confirm that David Fincher visited the set around the time that Ridley Scott stopped by. Just thought you'd like to know. Alien 3-D, anyone? Haha... love the site."

While an ALIEN franchise movie in 3D would be awesome, that is not quite what I am thinking...

We know that Fincher was interested in shooting HEAVY METAL in 3D (last I heard this project is in doldrums) - his quote to MTV was: "I'm in talks right now to do a series of CG-animated 3-D films for HEAVY METAL." It could be that he was referring to animation 3D and not stereoscopic 3D however so I am leaning away from HM3D.

But I am thinking that Fincher is aiming to do RENDEZVOUS WITH RAMA (based on the Arthur C. Clarke novel) in motion capture 3D. Again, here is more from MTV on this from January 2008 interview:

MTV: How about "Rendezvous With Rama"? That's a legendary sci-fi property you've wanted to do for a while.
Fincher: I'm waiting to get a script. It's my understanding that [producer] Lori [McReary] and Morgan [Freeman] have a script, and when they're happy with it, they'll send it to me. It's a project I've always loved. It's probably technologically within striking distance right now. That was always the thing: You couldn't afford to build these things as sets. It's just too huge.

MTV: Would you shoot it using a lot of green screen?
Fincher: I think it's more along the lines of motion-capture. There's probably a week or two onboard the ship that you'd have to do the weightlessness and the landing before they get to Rama. We'd probably do it with some kind of performance-capture.

So. Connect the dots. A well established director who knows of, and is interested in 3D. A guy who has a SciFi project in the works for years but wasn't able to pull it off without modern filmmaking technology (sounds familiar doesn't it?). And a guy who recently visited the AVATAR set to see Cameron and performance capture in action. Other directors have come and were HEAVILY influenced by what they saw - even Ridley Scott is back at SciFi after vowing to never do another one. That is the power behind what Cameron is doing with AVATAR.

Note that he used the term "Performance Capture" and not "Motion Capture". Performance Capture is the term used by Cameron as he alludes to the capture of an actor's performance and not just body motion.

So I submit to you - David Fincher is gearing up to shoot RENDEZVOUS WITH RAMA in stereoscopic, performance capture 3D using similar techniques that are being used in Cameron's AVATAR.

Here is what actor Morgan Freeman had to say about the project to MTV back in 2007: "I play the captain of the spaceship Endeavor that is charged with rendezvousing with this thing from outer space to find out what it is [and] what its intentions are. It's a very intellectual science fiction film, a very difficult book to translate cinematically... we have found it very difficult to translate, to get ready for film. There are no guns, no explosions. Although it's fiction, it's all based on pure science."

So it sounds like a very compelling movie whose limelight may soon be upon us. Freeman would be an excellent choice as a starship captain! I thought he was one of only a few things that enabled us to suspend disbelief in DEEP IMPACT so his presence is definitely welcomed here. What are your thoughts on this classic SciFi tale being shot in "AVATAR" mode? :-)

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Quick Post: Laz Alonzo Talks Avatar & More

Michael here.  Christina over at Collider has an in depth interview with Laz Alonzo.  Laz tells some great stories about how he got involved with Avatar, how his audition went, and how it feels to be working on one of the most anticipated films of all time.

Also of note, Alonzo re-confirms that Avatar is planned as a trilogy, saying, "To have the opportunity to be a part of this trilogy is the biggest gift I could have."

Check out the full interview over at Collider.

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Michelle Rodriguez Spoils Part Of "Avatar"

Jim here. Recently Latina (via /Film) had an chance to catch Michelle Rodriguez at the FAST AND THE FURIOUS 4 photo call in France and of course she failed to rein in her enthusiasm for her roles this year - including AVATAR. That's why we would jump at the chance for an interview with her.

MINI-SPOILER ALERT:
Here is what she had to say about her fighter pilot character on AVATAR: (highlight the text below to read the contents)
“Anytime you’ve got a wild, independent, free-spirited woman, she has to die at the end of the movie, unless it’s a movie that’s so sci-fi that it can’t be real, like TOMB RAIDER. Me? I die in every film that I’m in this year. They’re just gonna have to keep on killing me; I’ll keep coming back, until they realize what’s hot and make flicks for bitches like me.”

She was deadpan when she was saying this!

Not that I am overly surprised by her demise in AVATAR - it's just that no one dares speak of their AVATAR role with that degree on candidacy ever before. So how does she bite it? Hmmm - thoughts? I say she perishes in a ball of fire.
Highlight white text above for spoiler info.

Image courtesy of Getty Images

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TDVision Describes their 1080p per-eye 3DTV system (ShoWest 2009)

Hi everyone, Michael here.  Jim got an exclusive interview with Ethan Schur from TDVision at ShoWest.  Ethan explains TDVision's 3D content encoding and delivery system, which delivers 3D content at Full HD resolution per eye, as opposed to other 3D systems which cut the resolution of the source images in half (or worse) when encoding the 3D signal.

TDVision's TDVCodec 2D+Delta is listed as the key patent of ISO, JST, ITU, IEC MPEG MVC standards.

Watch the interview below!

TDVision is a sponsor of MarketSaw

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Exclusive: Chris Pine Talks Star Trek Sequel - Will it be in 3D? (ShoWest 2009)

Hi everyone, Michael here.  I had the chance to ask the new James Tiberius Kirk himself, Chris Pine, about the possibility of the recently announced sequel to J.J. Abrams' Star Trek being made in 3D.  Pine thinks that given J.J.'s love of technology, he would probably love to do something in 3D, but it remains to be seen whether Trek 2 will be a 3D project.

Here is my question:

Hi Chris.  Star Trek looks amazing - I can't wait for it.  The sequel was just announced, and at ShoWest this year 3D movies have been a major topic.  I know you worked with Zoe Saldana who worked on James Cameron's Avatar, which will be in 3D.  Also, at WonderCon, J.J. was wearing an Avatar t-shirt.  So what are your thoughts on having Star Trek 2 be in 3D?

Watch Pine's response below:

Star Trek looks like a fantastic reboot with all the right ingredients.  We'll keep you updated on Star Trek 2 as we find out more.

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Exclusive: Michael Bay NOT attached to "The Birds" And Not Interested In Transformers 3 In 3D (So far...)

**Update: April 4 - Got the video for you; see below...

Jim here. I had the opportunity to ask Michael Bay a couple of 3D related questions today at ShoWest. And had some startling revelations:

1. He is NOT attached to THE BIRDS. Despite a clear history of his supposed involvement with the project - he emphatically shot down that he has "nothing to do with it".

2. When asked about TRANSFORMERS 3 being in 3D, he states that no he won't be doing that - BUT throws in the caveat that it is because the ways he shoots is too aggressive for 3D cameras. He says that they haven't come up with a system where he could be precise enough.

Well, listen guys - I suspect that once he sees AVATAR he tune will change drastically. In fact, I would like to suggest that Bay knock on Cameron's door and take a look at the work in progress. Perhaps he will. Perhaps he will see just what is possible with stereoscopic 3D today through Cameron as has Spielberg, Jackson, Soderbergh and Scott have (to name a few).

Here is the video of the question - and others - courtesy of Frosty over at Collider. We had a slight technical problem with our video capture, but it's all good. You just don't get to see my smiling face while I question him...

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Sony Demonstrates 4k Tech (ShoWest 2009)

Michael here.  Sony has been pushing their 4K technology heavily at ShoWest.  Tuesday evening's The Soloist screening was projected using a Sony 4K projector from a 4K Digital Cinema Package (which was scanned at 4K resolution from the original film negative).  Sony also has a demo of their 4K 3D projector on the tradeshow floor, where they are showing a variety of footage, including a reel from PACE and various trailers for 3D movies.

The image quality of The Soloist was amazing: vivid colors, great contrast, and an image resolution that fully captured the finest nuances of the original film--and all this on a very large screen.  4K certainly offers an improvement over 2K when you are viewing a 4K-sourced image on a large screen from a short distance.  The number of films capable of producing 4K DCP files should be increasing rapidly, as movie studios opt for more 4K digital intermediates for archival purposes.

The 4K 3D system (on which Sony is partnering with Real D) is actually projecting dual 2K images simultaneously, as opposed to the triple-flash system of 2K projectors.  Technically, the dual projection is supposed to be easier on the eyes/brain than the triple-flash process due to less black space between frames, but given the small screen and ambient lighting present at the Sony booth, it was hard for me to tell any difference.

As we reported, Sony has signed a deal with AMC to roll out their 4K projectors on approximately 5000 screens by 2012, pulling them within striking distance of the number of 2k DLP installations.

My one caveat about 4K is that I would rather see 2K content filmed and projected at 48 frames per second than 4K, given the choice.  Hopefully, both 4K and 2K projector companies, along with 3D system companies such as Real-D, Dolby, and XpanD will soon offer solutions for 48 frames per second projection in both 2D and 3D.

Click here for a great Variety interview with James Cameron where he explains the benefits of 48 frames per second 3D cinema.

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Cool "Cloudy With A Chance Of Meatballs" Display At Showest

Jim Here - got some photos of a cool CLOUDY WITH A CHANCE OF MEATBALLS promo display at Showest. Sony did a good job with this and it was actually located in where they serve us lunch so kinda set the mood for chowing down! LOL

The previews we saw were the same as what I had seen previously so nothing new there - BUT it is an awesome looking project as I have already stated. Hats off to Sony.

Sony does need to kick 3D up a notch though - they are noticeably trailing Disney and Fox. I think we will hear something from them soon on upcoming 3D projects that should astound us. They are working sequels for MEN IN BLACK and GHOSTBUSTERS - both of which would look simply awesome in 3D.

Anyway here are the shots! Yes, that's me attempting to snag a meatball all for myself...

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Roger Ebert Vomits Forth More Bile - Just Doesn't Get Modern 3D AT ALL

Jim here. Well Roger Ebert has again attacked modern 3D by spewing more ignorance of the technological marvel: "3-D is a distraction and an annoyance. Younger moviegoers may think they like it because they've been told to, and picture quality is usually far from their minds. But for anyone who would just like to be left alone to see the darned thing, like me, it's a constant nudge in the ribs saying never mind the story, just see how neat I look."

What this solely tells me is he can't get over how profoundly 3D affects him. He can't shake the experience! I will submit that the first few 3D movies you see will have you thinking about the beauty of the format, but as you experience more and more of it - and if the movie is done right - you will forget that 3D is even there. THAT is the magic.

Unfortunately it seems all the magic has left Mr. Ebert. It really is too bad. One of the most respected movie critics of all time simply cannot come to grips with what is now being proven to be the future of cinema and the next step toward total immersion in the movies.

I have said it before and I will say it again if he continues to voice his ignorance of 3D: Perhaps it is time to retire. Retire before there is real embarrassment, because in my mind if he continues down this path he may very well be ruining his mammoth legacy to the entertainment industry and present himself as, well, a dinosaur who didn't really know extinction was possible.

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Thomas Jane's "The Dark Country" Photos!

Jim here. New photos of Thomas Jane's 3D movie THE DARK COUNTRY has hit the interwebs. Take a look at these shots from the film noir thriller by clicking through to Quiet Earth.

Definitely looks film noir! Should be an awesome movie in 3D.

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