James Cameron And Vince Pace On Ang Lee's LIFE OF PI **AND** The Visual Effects Behind The Tiger!

You can just tell this movie is going to spellbound us. Look at the talent associated with the 3D alone: director Ang Lee, Vince Pace and James Cameron - the latter two provided the 3D camera rigs and services through their Cameron | Pace Group.

Here's what Cameron had to say about it:
"The 3D is an integrated part of the art form, and I feel like the technology that we've created has contributed to a masterpiece."

Not small words coming from him. Sure he's a bit biased with his company working on this project, but he wouldn't put his name on it in this fashion if it weren't a special movie. We're in for a treat with this one folks.

Hit the jump to view the clips...

Cameron Pace Group Celebrates New 3D Tech And Services Deal With Chinese Companies -- Co-Production Options Exist For AVATAR Sequels

In what appears to be a landmark collaboration, the Cameron | Pace Group (CPG) have signed on with two Chinese companies, providing them with stereoscopic 3D technology and services. The two companies are Tianjin North Film Group, a movie and television production company, and Tianjing Binhai Hi-Tech Development Group, who operate a tech park in Tianjin, situated east of Beijing where the venture will be based.

China Central Television (CCTV) is also in talks with CPG's China Division for a potential third deal for the Vince Pace, James Cameron led company in the world's most populous country.

Says veteran stereographer Vince Pace: "We play a support role. We're there to help the expression of creativity and artistry."

Expands director James Cameron: "We're not going to tell Chinese film makers how to make movies. We are going to help them make a transition to 3D production technology as cost effectively as possible, and in a way that doesn't inhibit creativity."

It is apparently a great win-win scenario here. The Chinese companies clearly get top 3D industry expertise in technology and services, while CPG gains that business - a toehold in that exploding new Chinese 3D market. Further, some research, development and manufacturing of CPG's equipment will take place now in China.

Here's Cameron on the topic: "This is a huge investment for us, as much in sweat equity ... as it is financially."

"We expect (CCTV if they adopt 3D) to expand very rapidly, from initially maybe a handful of productions a year to, two or three years from now, we could be talking about thousands of hours of TV production. That's our goal, in any case."

"This is an enormous untapped market that is right on the verge of the transition from 2D to 3D," said Cameron. "This is the best place for us to create a kind of second home."

CPG is not the only Hollywood company seeking business ventures in the country. Dreamworks Animation will be opening a $3 billion theme park in Shanghai by 2016 and will also make at least part of KUNG FU PANDA 3 in China. Further, the IRON MAN 3 will be co-produced with a Chinese partner according to Disney.

With AVATAR 2 and it's potential release year of 2015 approaching, will CPG look into using the Chinese connection to help make the sequels? Potentially yes. Says Cameron: "There have been some very preliminary discussions about co-production potential here in China." Realistically though, I'm thinking that there may some scenes shot in the country, but at least for AVATAR 2 much of decisions may have been made. If you take a look at Cameron's recent activity in New Zealand, it seems that country will benefit the most from the upcoming blockbusters.

China for it's part has announced (March 2012) it will let an additional 14 foreign films into their country on the condition that they are made in 3D or IMAX. They have also raised the foreign share of allowable ticket sales to 25 percent. China's ticket sales continue to rise - up by a third last year alone ($2 billion).

In a potential film market such as China, these trailblazing deals have the silver lining to be very large down the road too. The Cameron | Pace Group earned $58 million last year from providing 3D services and equipment and it certainly seems that the future is continually growing for CPG with deals like this in the hopper.

Is there a danger of losing the technology to poor imitations in China like other industries have seen happen? Yes, but Cameron downplayed it: "That's certainly a danger. We are going to look very carefully at how we protect our core technology. But frankly... it is changing so rapidly that you can clone what we are putting in the field now, but we'll be coming out with something new in 18 months, anyway."

So congratulations to everyone on the Cameron | Pace Group team! Well deserved piece of business there and future success!

Sources: The Gazette | NYPost | SkyNews | Bloomberg

James Cameron Speaking At NAB 2012: "The Secrets Of Making 3D Profitable"

James Cameron is back at the NAB Show in Las Vegas! On April 16 from 10:30 to 11:45 AM he and Vince Pace will give a talk entitled: "The Secrets Of Making 3D Profitable". Their company CAMERON | PACE Group are a leader in the 3D services space. The talk will be in room S222.

If you are in town that day, I would highly recommend going to see him as he is an excellent speaker and this topic is sure to be extremely interesting.

Wish I was there this year! If you make the talk, drop me an email and tell me about it...

Paramount Acquires James Cameron's CIRQUE DU SOLEIL WORLD'S AWAY 3D Feature

This one should be a treat! If you have ever seen a Cirque du Soleil show then you know what I mean and if you haven't seen one, then be prepared for a spectacle.

Andrew Adamson (SHREK, CHRONICLES OF NARNIA: THE LION, THE WITCH AND THE WARDROBE) wrote the movie and is directing and James Cameron is executive producing. In other words, Cameron is lending his name and clout in getting this thing made and shot in native 3D (with Cameron-Pace Group's equipment and expertise).

Here's the official press release:
HOLLYWOOD, CA (January 10, 2012) – Paramount Pictures and Cirque du Soleil jointly announced today that the studio has acquired worldwide distribution rights to the Cirque du Soleil 3D feature film entitled “Cirque du Soleil Worlds Away”. Written and directed by Andrew Adamson (“Shrek,” “The Chronicles of Narnia: The Lion, the Witch and the Wardrobe”), and executive produced by Academy Award ® winning filmmaker James Cameron, the 3D film event features artistic and acrobatic performances from some of the most elaborate Cirque du Soleil productions. The film was produced by Adamson, Aron Warner, Cirque’s Martin Bolduc and Ed Jones and Cary Granat. Vince Pace oversaw the 3D stereo production aspect of the film.

A number of production companies collaborated to bring the film to life. In addition to Cirque, Warner and Adamson’s Strange Weather Productions, Reel FX and Cameron Pace Group all contributed to this groundbreaking production.

“The coupling of filmmaker James Cameron’s groundbreaking 3D visual accomplishments and Andrew Adamson’s beautiful direction, combined with a timeless original story written especially for this movie, will make for a truly amazing moviegoeing experience for audiences of all ages ” said Rob Moore, Vice Chairman of Paramount Pictures.

Said Jacques Méthé, Executive Producer, General Manager, Images, Events, Lifestyle of Cirque du Soleil, “This 3D event brings the spectator beyond what they could see at a show, it takes them on the stage. This unique point of view allows the audience to discover the artistic details of our productions and reveal the human spirit that our artists bring to the audience in their performances. Jim and Andrew have masterfully captured what a Cirque du Soleil 3D experience could offer and Paramount will present it to the world.

Really looking forward to seeing more Cirque magic. I've seen some of their Las Vegas shows and they never fail to awe!

3D Entertainment Summit – Day 1: Opening Remarks and Keynote Presentations

Tim here with news from the 4^th Annual 3DEntertainment Summit (9/20/11-9/22/11) where the first day proved to be a great success. Today James Cameron and Vince Pace are featured keynote speakers while Jeffrey Katzenberg will be receiving the 3D Visionary Award. The theme of the conference is “3D is the future now. Don’t get left behind.”

The first day started out with opening remarks from Bob Dowling,Co-Producer and Conference Chairperson of the 3D Entertainment Summit. He thankedthe sponsors of the event, which included Variety, ESPN 3D, RealD, MasterImage, and many others. He pointed out that conversions are getting better and that Lion King 3D is an example, especially with its box office success, and that we have to see the performance of Star Wars and Titanic next year. Also the big directors Spielberg, Scorsese, and Coppola, all have movies coming out soon in 3D.

Next to speak was Charlotte Jones of IHS Screen Digest who had a Keynote/Power Point presentation in 3D. There are 30,000 3D screens globally accounting for 64% of the international box office and 17 million 3DTV’s sets. The total revenue for the entertainment industry is $320 billion, and that encompasses all sorts of forms of media from theatrical movies, television programs, mobile devices,etc. All of which 3D is in the prime position to take a position in each market. North America accounts for 43% of the digital screens worldwide, and 3D is key for the international upgrade to digital. The top 3D territories are China,France, UK, Germany, Russia, Mexico, Spain, and Japan, and China is emerging as a key battleground. Western Europe is leading drive for 3D feature production internationally, and the leading producers are the UK, France, Spain, and there’s also Australia alongside the European giants. Jones says that the international 3D box office is set for a record year. For the split between domestic and international grosses the average split is 67.5%.

There’s an average of 3.1 new 3D releases per month, and that number is increasing steadily. On the technology watch she said that increasing light levels and higher frame rates are what we need to keep our eyes on. The greatest issue with higher frame rates is that not all the digital projectors currently in theaters are capable of showing up to 48 fps.

Jones lead into the 3DTV discussion by mentioning that there are 30 dedicated 3D channels, and France has the highest number, while on the downside Comcast has less than 40 3D movies in its catalog. She claimed that the 2012 Olympics should be a watershed for live 3D broadcast before handing off to Helen Davies (IHS Screen Digest head of video). Davies pointed out that by the end of 2011 65% of US households that are already 3D capable will be 3D ready, with 48% internationally. By 2015 she predicted that 47% of the 137 million 3DTV’s will be passive. Capable means having a 3DTV alone while ready means having the total package of a 3DTV plus a 3D source (like a 3D Blu-ray player or 3D cable/satellite) and of course the 3D glasses.

Davies covered the Blu-ray 3D market, and said that there will be 100 Blu-ray 3D titles by 2011’s year end, which was later upped to 110 by John Revie of Samsung Electronics. Davies informed us that the Blu-ray’s adoption has been slower in the international market than the US, but attributed it to the economy. She talked about gaming devices being the next driving force for 3D in the home, with PCs, Playstation 3, Xbox 360, and Nintendo 3DS. However, the adoption is slower than expected with 3D PC gaming remaining a niche. She said that 3D cellphones are in their early days and are early prototypes with little 3D mobile content. Davies said that Apple needs to join, but “we’re not holding our breath.”

Closing the early presentations John Revie talked about what Samsung is doing to push the envelope. He said, “Life is in 3D. Entertainment should be as well.” 3D is gaining momentum and Samsung has sold 3 million units this year with 88% of consumers rating the 3D picture quality positively.

Samsung has developed new 1 oz. Ultra-Light Weight 3D shutter glasses, which I got to try out at the expo part of the conference. They’re amazing and really make shutter glasses comparable to passive glasses in comfort. Revie also said that by 2012 the active shutter glasses standards would be adapted.

CBS And CAMERON–PACE Group Win Sports Emmy For US Open Tennis Championship In 3D

Very cool award! Congratulations Vince and James!! Emphasis below is mine...

The National Academy of Television Arts and Sciences Recognizes CBS Sports and CAMERON – PACE Group with “The George Wensel Technical Achievement Award” for the 2010 US Open Tennis Championship in 3D

BURBANK, CA, May 6, 2011 – CAMERON – PACE Group announces it won a Sports Emmy Award with CBS Sports at the 32nd Annual Sports Emmy Awards held at Lincoln Center in New York City on Monday, May 2, 2011.

CAMERON – PACE Group (formerly PACE) was the innovative company responsible for designing and supplying six FUSION 3D camera systems including three 2D/3D integrated camera rigs, Shadow D powered with Shadow Vision system technology and the fully integrated, on-location live broadcast mobile unit, FUSION Mobile 1 Unit™ for CBS Sports’ 2010 US Open Tennis Championship. This live 3D sports broadcast marked the first time in history that the US Open Tennis Championship was captured in 3D and the first ever live 3D broadcast utilizing CAMERON – PACE Group’s 2D/3D integrated camera rig, Shadow D. Both companies were awarded under “The George Wensel Technical Achievement Award” category which recognizes technical innovation that is extraordinary and enhances the broadcast for the viewer for the US Open Tennis Championships - 3D at US Open Tennis Championships production.

“We are honored to be recognized with CBS Sports for the US Open Sports Emmy,” said Vince Pace, Co-Chairman and CEO of CAMERON - PACE Group. “The future of 3D sports hinges on the integration of critical camera positions. Utilizing the Shadow D System we were able to give the viewer a courtside seat without any additional operators, seat kills or camera positions; a win/win for all.”

With live 3D sports production continuing to rise, CAMERON - PACE Group saw the opportunity to revolutionize the 2D and 3D live sports production capture process with the design of an integrated 2D/3D camera rig, known as Shadow D and the development of the Shadow Vision system technology. The Shadow D rig stacks a 3D camera next to a longer 2D camera lens and allows one camera operator to control and drive both cameras with one set of controls, capturing 2D and 3D images simultaneously. This allows 2D camera operators to capture 3D without learning new production techniques, reduces 3D production costs and solves the conflict of 2D and 3D camera placement around a sports venue.

"It's great that our technology is being recognized," said James Cameron, Co-Chairman of CAMERON - PACE Group. "The Shadow D allows the use of shared camera positions and operators. It's all about creating a business model that works, that makes 3D cost effective for broadcasters."

CAMERON – PACE Group first unveiled the Shadow D rig at the 2010 NAB Show. Since then the Shadow D rig has been utilized for various live 3D sports productions including the CBS Sports’ 2011 Masters Golf Tournament, CBS Sports’ 2010 US Open Tennis Championship, ESPN’s 2010 ESPN Masters Golf Tournament, ESPN’s 2010 Summer X Games and HBO Sports’ 2010 Boxing. At this year’s NAB Show, Vince Pace and James Cameron showed a 3D clip from CBS Sports’ 2011 Masters Golf Tournament during their opening keynote speech in Las Vegas, Nevada.

About CAMERON - PACE Group:
CAMERON - PACE Group is advancing the future of 3D across all media channels by making the most advanced products, support solutions and creative tools available and accessible to networks, studios, broadcasters, filmmakers and creative teams around the globe. The company is singularly dedicated to building upon the strong foundation of innovative technology developed by its visionary co-founders, James Cameron, Vince Pace and Patrick Campbell, and leveraging its unmatched 3D expertise to help content producers realize 3D's full potential as a creative and powerful storytelling medium and remove any barriers that prevent global audiences from experiencing the most compelling, engaging and high quality 3D entertainment possible. CAMERON - PACE Group was founded in 2011 by Vince Pace and James Cameron. The company is headquartered in Burbank, CA.

For more information, please visit www.cameronpace.com

Exclusive Interview: James Cameron & Vince Pace On New Business: Cameron - Pace Group. Details On ARRI Collaboration!

Hey guys - have a special treat for you! I had the opportunity to interview James Cameron and Vince Pace via phone from their NAB appearance to announce their new business, the Cameron - Pace Group (CPG).

I shared the discussion with two other reporters but their audio was so low that I had to unfortunately cut out their questions entirely. They asked questions about 3D sports and high definition so I included the relevant answer portions from Cameron and Pace which was loud and clear. Of course my questions came through with no issue at all.

The biggest thing I got out of the discussion was that the Cameron - Pace Group will be stepping up to the plate to push a "gold standard" for the 3D industry to aim to match going forward. They are not the only ones. I will have more on that in a new post coming soon.

It's always a pleasure to speak with these guys who clearly have an ample finger on the pulse of S3D and are driving forces of the modern S3D changeover. I have also included several clips from their NAB presentation that I'm sure you will find enjoyable!

Here is what transpired during the interview - feel free to skip to the parts of your interest, but I invite you to listen to the whole thing:

1:20 - "Gold Standard" 3D: Ensuring the public gets the best 3D possible. Probably the single most important aspect of this announcement for me.

6:40 - Higher Frame Rate Discussion

10:35 - Higher Resolution: Essentially it should be listed as a second tier priority after higher frame rates and for very elegant reasons as outlined by Cameron.

12:18 - New Technologies In Play For Upcoming Projects: Cameron talks about their new system utilizing the ARRI ALEXA M camera, which is a 5.5 lb sensor block that is designed for S3D use. Pace talks about their new automation software suite that helps automate many aspects of shooting in 3D, thus reducing production time, costs at both set and bringing experts in.

14:52 - 3D Sports Discussion

Have a listen:




Further, I invite you to watch some clips provided to me highlighting Cameron and Pace at the NAB Show in Las Vegas that is happening right now. ENJOY!












Stay tuned for more on the Hollywood "Gold Standard" for S3D!!

Michael Bay Simply Loves 3D: "It's Spectacular"

Michael Bay has come full circle and I can't wait to see the results in TRANSFORMERS: DARK OF THE MOON.

Empire recently spoke with the director about the movie and using 3D. For those of you who don't know, Bay is using James Cameron / Vince Pace's technology (AVATAR) for the native 3D shots. Should be AMAZING.

Here is what Bay had to say:
“Ridley Scott once said, ‘Michael Bay and I have always been shooting in 3D.’ What he meant by that is that I always put background, mid-ground, foreground in all my shots.”

"Cameron was like, 'Mike, directors like you have to do 3D or it is going to die.' I love it when you see these things: 'The 3D event of the year!' You see it every movie. There was a recent movie where you go in and before it starts they put up a little plate: 'These scenes were not shot in 3D.' Are you kidding? I think our 3D works really well with the robots, the size, the girth, the weight of it… it’s spectacular."

I love it when an action director the caliber of Michael Bay gets amped about S3D! Who knows what we are going to see in this thing. We could be in for a serious treat here guys! I agree with Bay: We needed him on the S3D team. We got him. Love it.

TRANSFORMERS: DARK OF THE MOON opens July 1.

More when I get it...

Exclusive: Justin Bieber's Concert And THE THREE MUSKETEERS To Be Shot In Native 3D! RESIDENT EVIL: AFTERLIFE Flips On $28M Afterburners!!

Massive exclusive update for you guys!

Talk about a wicked weekend for the long-in-the-tooth franchise RESIDENT EVIL! 3D has resurrected the business side of things (~$28 million for the weekend) as clearly RE:A's story is not the driving factor here. No, it was the spectacular live action 3D that was shot with some of the best 3D cameras and expertise in the world that have audiences stunned at what they are seeing. The Fusion 3D cameras are actually into a new generation now after what they accomplished with James Cameron's AVATAR.

And who was responsible for the stereoscopic 3D goodness? Vince Pace and his team. I reached out to Vince for a quick update (the second update since July where he exclusively told us that TRANSFORMERS 3 will be shot throughout in native 3D) as to what he has been up to lately and he continues at a breakneck speed churning out quality 3D project after 3D project.

Here is what Vince had to say this time around (Sep 10):
"Shoot Justin Bieber concert, (shipping) out two feature packages. Shoot the first college game for ESPN. Shoot US Open for CBS. Waiting in airport for plane from New York to Columbus to shoot Ohio game. Back tomorrow night for Sunday mens finals. All done in the last ten days."

...and a brief followup TODAY:
"Good news on Resident Evil. Working with Constantine for 3M. Nice to see repeat customers. Just had US Open cancel today’s match due to rain. Set for tomorrow…."

Wow. An amazing amount of work on his plate. James Cameron told me that their cameras are hardly ever on their shelves - always out on business.

So the exclusives out of this update: Justin Bieber's concert will be shot in NATIVE 3D with Fusion cameras! As will Paul W.S. Anderson's THE THREE MUSKETEERS!

Obviously the kids love Bieber's music and while the melodies are catchy I had reservations about this movie if it was going to be a conversion simply because I didn't know what company would be attached to do it. There are many companies out there that are capable of converting movies, but only a handful produce quality projects. Now I can relax. The 3D will be spectacular!

Same for THE THREE MUSKETEERS! I am ecstatic that it is going native 3D with the Fusion cameras. One could assume that Anderson (who also directed RE:A) was going to use them again, but it is great to have official confirmation.

Native 3D is glowing in the limelight this weekend as RE:A mutates its competitors. Companies like PACE and 3ality Digital are going to continue their 3D dominance until 3D conversion can consistently pull their weight across the board. Movies like CLASH OF THE TITANS and PIRANHA 3D are holding the "conversion brands" back today. Hopefully HARRY POTTER AND THE DEATHLY HALLOWS will help fix that image!

Exclusive: TRANSFORMERS 3 Will Be Native 3D And An Update From PACE

We have already heard that there is a strong chance that Michael Bay is shooting TRANSFORMERS 3 in native 3D via Ridley Scott. Now we have exclusive information from a person very much in the know that it is in fact happening.

...As I said in the last post, I have recently spoken with Vince Pace who is of course very well known in 3D circles.

Here is what Vince had to say about his current projects:
"Trying to lay low and do what I do best. We took delivery of the first Alexa cameras for Hugo and have 23 more on the way. Transformers has also signed on to shoot 3D throughout the film. I am working on a big Disney film but can’t mention the name and are lining up five more films. Just wrapped on additional photography for Resident Evil and Tron. Currently in Hawaii and flying out to London for Hugo."

Perfect! I can't wait to see the 3D visuals from TRANSFORMERS 3. And the unnamed Disney movie shooting in Hawaii? I would place my bets on PIRATES OF THE CARIBBEAN: ON STRANGER TIDES wouldn't you?

3D Geek Alert: Scorsese's 3D Steadicam Rig For HUGO CABRET And More Info On Just What Cameras He Is Using...

Got a couple of interesting behind the scenes news items for you 3D geeks out there who are following Martin Scorsese's project HUGO CABRET.

First, Andrea from 3D-Life.it sent me some cool backstage photos (which I always love receiving) which show us 3D steadicam operator Chris Fawcett using a rather interesting 3D rig setup (click for larger images). Note that you can configure the set up for an operator to stand up or sit down as needed. Be sure to click through to 3D-Life for more shots.

As these shots demonstrate, Scorsese is using a 3D beam-splitter rig (not sure of manufacturer yet) to house two ARRI Alexa cameras used with a steadicam package on a Segway! How cool is that? Makes sense that it would be quite functional too. The Segway would relieve the weight burden of carrying that equipment for the operator.

Second, I recently spoke with Vince Pace who is, as usual, extremely busy. Pace has been given the contract to supply 3D cameras and expertise for HUGO CABRET. As part of the deal, PACE has taken delivery of the first ARRI Alexa cameras and has 23 more on the way. Yes, you read that right - Scorsese approached PACE for their expertise in shooting 3D and not necessarily their proprietary Fusion 3D cameras that were used for AVATAR. That is not to say that the Fusion cameras are not being used though. To the contrary. More on that in the next post. I am sure you will be very interested...

Very cool to see PACE being tapped for their stereoscopic expertise and not just for their cameras alone. 3ality Digital is experiencing the same industry needs of late and I have pinged them for an update as well. More when I get it!

Cameron Talks Concerts And Content In Korea!

**UPDATE May 15: There is a six part video of his visit here! Thanks stormko for the headsup.

James Cameron is making quite an impact on his latest visit to South Korea! A couple of things to talk about but lets go over the surprising first:

How about Cameron working with SM Entertainment (A Korean talent agency) to create 3D music videos and concerts together? A bit of a departure if I do say so myself, but it is 3D related and he is probably taking a very light role.

SME handles such talent as Girl's Generation (the link is for a large fansite) and Super Junior. I can certainly see a synergy through a strong female connection (Cameron places women in lead roles in most of his films). It is quite a coop for SME to land him to work with them. Congratulations.

Next up, Cameron dropped by Samsung Electronic's headquarters in Suwon, Gyeonggi with his technology partner Vince Pace (pointing in photo). Cameron talked about how the manufacturers have gone ahead and provided the hardware for 3D home entertainment before the quantity of 3D content was there.

“The consumer electronics companies have set the pace by making 3-D TVs and Blu-ray players available before there is a lot of content, and this has created a content gap,” Cameron said.

“Technology will not be the pacing factor, but the creation of content will be the limiting factor.”

Cameron believes in 2D to 3D conversions for only high value classic titles like TITANIC, STAR WARS and INDIANA JONES. (I don't know if he specifically mentioned INDIANA JONES as being considered for conversion, but it would not surprise me - we know the other two are.)

Cameron also places a bit of a cap on the next big thing for media technology, saying that 3D is something that should be improved upon through higher framerates and resolution before other advances are made in different areas. Holography comes to mind for example.

James Cameron also gave the keynote speech at the Seoul Digital Forum in the Sheraton Grande Walkerhill hotel.

Nice swath cut by Cameron in Korea! His agenda must be packed to the rafters for the next oh, 20 years. Nice to see his wife coming along for the trips. More when I get it! Thanks to Jaime for the heads up on the SME story.

Must Watch - RESIDENT EVIL: AFTERLIFE Trailer!!

Jim here. First look at the trailer for RESIDENT EVIL: AFTERLIFE and it looks... GREAT! Perhaps the best one yet? Could very well be. Certainly 3D is going to add a lot to the franchise.

RE:A is slated for 3D theaters September 10, 2010.

Please take note that Director Paul W.S. Anderson is doing this strictly with native 3D. He is shooting on the James Cameron / Vince Pace FUSION cameras - no 3d conversion with RE:A.

I think the visuals look stunning and the 3D will bring us even further in. Of course if you read MarketSaw you know I am a sucker for zombie movies and RE is one of the few franchises that has delivered some good moments. I will be first in line...

Rundown of All the S3D Stuff Happening at NAB 2010!

Michael here with a rundown of the S3D stuff happening at NAB in April. The show will be filled with S3D educational sessions and high profile speakers such as Vince Pace, Steve Schklair, Barry Sandrew, Chuck Comisky, Buzz Hays and many more luminaries from all corners of the S3D world.

The Digital Cinema Summit on Saturday and Sunday is entirely dedicated to all aspects of S3D, and on Monday and Tuesday there will be even more sessions, including ones on the makings of Alice in Wonderland, How to Train Your Dragon, and Hubble 3D:

Check out the schedule below:

Digital Cinema Summit - Saturday & Sunday:

Saturday, April 10

Understanding Stereopsis and 3D Image Capture
Saturday, 04/10/2010 8:45am - 9:45am
Room S222

This session will provide a review of how the human visual system perceives depth, and the fundamentals of stereoscopic imaging. In addition, common techniques for live 3D image capture using stereoscopic camera rigs will be explained, including benefits and pitfalls, and a variety of 3D capture tools will be demonstrated. Other topics will include imaging parameters such as the setting of interaxial distance (baseline) and convergence, plus causes of eyestrain in improperly crafted 3D images. Finally, factors such as hyperstereo, divergence and accommodation will be explained and demonstrated.

Speaker(s):

Peter Lude, Senior Technology Executive, Sony Electronics
Steve Schklair, CEO, 3ality Digital Systems LLC.

3D Programming: Lessons Learned
Saturday, 04/10/2010 10:00am - 11:00am
Room S222

Stereoscopic motion imaging is fundamentally different than 2D. To be most effective, the 3D production crew will take a different approach to depth of field, camera positions, zoom moves, intercutting and graphic compositing. In this session, we'll hear from pioneering 3D content producers to learn what factors must be considered in planning high-quality 3D coverage of different program genres.

Moderator(s):

Al Barton, Consultant, Freelance Digital

Panelist(s):

Pierre de Lespinois, Co-Founder, Evergreen Films
Thomas Edwards, VP, Digital Television Testing & Evaluation, FOX

3D Conversion
Saturday, 04/10/2010 11:00am - 12:00pm
Room S222

With the recent announcements of multiple 3DTV channels in U.S., Asia and Europe, will there be enough natively-captured 3D content? Many content producers are investigating if it is feasible to convert existing 2D material to stereoscopic 3D. Others are considering shooting new programs in 2D and then converting to 3D, versus natively-capturing in 3D. Is real-time 3D conversion a viable option or are humans needed to make the creative adjustments to create acceptable 3D images? This panel will discuss various issues related to 3D conversion from the point of view of content producers, distributors and 3D conversion experts.

Moderator(s):

Brad Collar, Vice President, Technology, Warner Bros.

Speaker(s):

Barry Sandrew, Ph.D, Founder and President/COO, Legend3-D, A Legend Films Company
Chris Alexander, Senior Vice President, Corporate Communications & Publicity, Twentieth Century Fox Television
Chris Yewdall, Executive Director and Chief Executive Officer, DDD USA, Inc.
Warren Littlefield, President, The Littlefield Company

A Case for Quality in Production and Post-Production
Saturday, 04/10/2010 2:30pm - 3:15pm
Room S222

This panel focuses on the creation of high-quality 3D in broadcast, feature film and other production types. Discussion will cover all aspects of production and post-production that relate to the creation of a comfortable stereoscopic viewing experience. It will also include specific areas of the creative side that contribute to the highest quality 3D possible, while minimizing discomfort and eye strain. Demonstrations provided.

Speaker(s):

Buzz Hays, Executive Stereoscopic 3D Producer, 3D Technology Center, Sony Corporation of America

After the Capture: What Other Tools Exist?
Saturday, 04/10/2010 3:30pm - 4:30pm
Room S222

The post-production workflow has to be modified to handle 3-D. What tools exist for editorial, color correction, adjusting depth, placement of overlays/captions/menus? What quality assurance guidelines methods exist for assessing consumer comfort (including children)?

Moderator(s):

Jim Whittlesey, Sr. Vice President, Technology, Deluxe Digital Media

Speaker(s):

Howard Postley, COO/CTO, 3ality Digital Systems LLC
Matthew DeJohn, VP/VFX Producer, In-Three Inc.
Peter Postma, FilmLight
Steve Owen, Director of Worldwide Marketing, Quantel

Stereography and Storytelling
Saturday, 04/10/2010 4:30pm - 5:30pm
Room S222

For many producers, 3D imaging has become an exciting tool to enhance the creative process of story-telling. Given the projects that have been done to date in movies, TV, and games, what can we learn from cinematographers and directors on what really enhances the story-telling and what detracts from the story-telling?

Moderator(s):

Rob Engle, 3-D Visual Effects Supervisor, Sony Pictures Imageworks

Speaker(s):

Chuck Comisky
Eric Kurland, Independent filmmaker/3-D enthusiast, 3-DIY.com

Sunday, April 11

Digital Cinema (including 3D) Roll-out: A Status Report
Sunday, 04/11/2010 8:45am - 9:45am
Room S222

Penetration flattened in 2008/2009 for a variety of reasons. 3D emerged as one of the strongest influencers in continued purchase of digital projectors. This session will assess the expectations and reationale for digital cinema deployment for 2010 and beyond.

(This session recorded for inclusion in the Online Learning Center)

Moderator(s):

Michael Karagosian, Founder, MKPE Consulting LLC

Speaker(s):

Oleg Berezin, Managing Director, Nevafilm JSC
Peter Wilson, Technology Chairman, EDCF, European Digital Cinema Forum

Technical Issues for 3D Digital Cinema
Sunday, 04/11/2010 10:00am - 10:30am
Room S222

While the distribution of the 3-D feature images are standardized, research and experiments continue in the realms of subtitling, windowing, depth ratios, etc. This session will identify what items are suitable for standardized metadata and what their time frames may be for documented standards versus practical field implementations.

(This session recorded for inclusion in the Online Learning Center)

Speaker(s):

Richard Welsh, Director, Digital Cinema Services, Dolby Laboratories, Inc.

Production and Projection Techniques for Immersive Media
Sunday, 04/11/2010 10:30am - 11:00am
Room S222

This talk focuses on new technologies in the areas of multi-view displays and 3-D panorama and explores the possibilities of gaming and cinema growing together in the future. This presentation will provide an overview of research in mini-HD cameras that provide for more complex panoramic 3-D rigs, field recorders able to store more 3-D images, and on-set calibration tools for stereoscopic camera rigs.

Speaker(s):

Siegfried Foessel, Dr. Ing, Frauhofer IIS

3D TV Distribution: Which Platform(s) Will Succeed?
Sunday, 04/11/2010 1:15pm - 2:30pm
Room S222

This is the first of three mini-panels about 3D TV broadcasting and the specific challenges it brings

This first panel will address the options, plans, and strengths for delivery of 3D to the home by terrestrial broadcast, cable, satellite, broadband, and optical media.

Moderator(s):

Patrick Griffis, Senior Director, Technology Strategy, Dolby Laboratories

Speaker(s):

Chris Johns, Chief Engineer, B Sky B
David Broberg, Vice President, Consumer Video Technology, Cable Television Laboratories, Inc.
Jim Taylor, Senior VP and Chief Technologist, Sonic Solutions
Mark Richer, President, ATSC, Winner: NAB Engineering Achievement Award - TV
Tony Jasionowski, Senior Group Manager Accessibility, Panasonic Corporation of North America

Can There (Ever) be a Common Worldwide 3D TV Broadcast Standard?
Sunday, 04/11/2010 2:30pm - 3:00pm
Room S222

While cinema delivery is closing in on one standard delivery package this year, challenges abound for other methods of delivery. There are many more challenges in the world of television, where distribution methods and device types are numerous and widely varied.

Moderator(s):

David Wood, Deputy Director, EBU Technical, European Broadcasting Union

Speaker(s):

Ajay Luthra, Vice Chair JVT, Motorola, Inc.
Rick Dean, President, 3-D@Home Consortium
Ted Szypulski, Chair - SMPTE Working Group on 3D Home Master, ESPN, Inc.

Consumer 3D TV Displays: What are the Technical Differences?
Sunday, 04/11/2010 3:15pm - 3:45pm
Room S222

This session will describe the technologies of displays in the market (including legacy CRT), their ability to handle 3D, the various encoding technologies and their applicability to each of the display technologies. This will cover large displays to hand-held.

(This session recorded for inclusion in the Online Learning Center)

Speaker(s):

Peter Putman, Contributing Editor, Pro AV

3D Consumer Experience in the Home: The Interoperability Challenges
Sunday, 04/11/2010 3:45pm - 4:45pm
Room S222

Many "3D-ready" displays were on the floor at CES, and are on their way to stores. What does "3D-ready" mean for the consumer? What efforts are occurring in the Consumer Electronics industry to assure 3D content will play in some 3D form on all 3D-ready displays? What technical or standards barriers need to be overcome to ensure consumer acceptance and the start of significant sales? How will consumers match content, video sources, displays and glasses to get a compelling 3D experience?

This session will answer these questions and more.

(This session recorded for inclusion in the Online Learning Center)

Moderator(s):

Brian Markwalter, VP, Technology and Standards, Consumer Electronics Association

Speaker(s):

Ami Dror, Chief Strategy Officer, XpanD Cinema
Brad Hunt, President, Digital Media Directions, LLC.
Mark Stockfisch, Vice President and CTO, Quantum Data
Steve Venuti, President, HDMI Licensing, LLC

3D 10 Years Hence: 20/20 in 2020?
Sunday, 04/11/2010 4:45pm - 5:30pm
Room S222

What does the time-line look like for the migraion from special purpose glasses to inexpensive (almost disposable) glasses to glassless technologies? What technical or standards barriers need to be overcome to ensure consumer acceptance and the start of significant sales?

Moderator(s):

Hans Hoffmann, Programme Manager EBU Technical, EBU

Speaker(s):

Aljoscha Smolic, Disney Research, Zurich
Dr. Takayuki Ito, Deputy Director-General, NHK Science and Tech Research Lab
Tibor Balogh, CEO/Founder, Holografika Kft

Content Theater - Monday & Tuesday

Monday, April 12

ESPN: Scoring a Field Goal in S3-D Sports
Monday, 04/12/2010 3:00pm - 3:50pm
Room N109

With the wildly successful stereoscopic 3-D telecast of the Ohio State-USC football game, ESPN established itself as the leader in S3D sports production and exhibition. What are the creative and technical lessons that ESPN has learned capturing and distributing sports in S3D? How does S3D impact camera placement, workflows, graphics and the broadcast director and camera operator's job description? Industry pioneer Vince Pace joins ESPN technology and production executives to shine a light on ESPN's latest S3D projects and upcoming initiatives, including the new dedicated network to be launched June 2010.

Speaker(s):
Moderator(s):

Glen Dickson, Senior Editor, Broadcasting & Cable Magazine

Panelist(s):

Anthony Bailey, Vice President, Emerging Technology, ESPN
Vince Pace, CEO, PACE

Speaker(s):

Bob Toms, Vice President, Production Enhancements & Interactive TV, ESPN
Phil Orlins, Coordinating Producer, ESPN 3D & X Games

"Alice in Wonderland": Turning Fantasy into Motion Picture Reality
Monday, 04/12/2010 4:00pm - 4:50pm
Room N109

Journey behind the scenes of the stereoscopic 3D fantasy adventure "Alice in Wonderland," Tim Burton's wildly imaginative twist on Lewis Carroll's classic writings. Get an in-depth picture of the creative, production and postproduction processes, including the design of the film's poetic, hyper-real look and its use of S3D to accentuate the story. Understand the challenges of shooting for synthetic environments and realizing hybrid live action/CG characters of wildly varying heights and proportions. A rare glimpse into the making of one of today's most complex and visually arresting films.
Speaker(s):
Moderator(s):

Carolyn Giardina, Entertainment Industry Journalist, "The Hollywood Reporter," "ICG Magazine"

Panelist(s):

Art Repola, Executive Vice President, Visual Effects and Production, The Walt Disney Company
Corey Turner, Stereographer, Sony Pictures Imageworks
Ken Ralston, Senior Visual Effects Supervisor, Sony Pictures Imageworks
Tom Peitzman, Co-Producer/Visual Effects Producer, Walt Disney Pictures

"How to Train Your Dragon" - A Case Study
Monday, 04/12/2010 5:00pm - 6:00pm
Room N109

A comprehensive and revealing look at how the filmmakers created DreamWorks Animation's beautiful and heartwarming CG animated motion picture.

Speaker(s):
Panelist(s):

Bill Damaschke, Co-President of Production for Feature Animation & President of LiveTheatrical, DreamWorks Animation
Dean DeBlois, Director, “How to Train Your Dragon”, DreamWorks Animation
Gil Zimmerman, Head of Layout, “How to Train Your Dragon”, DreamWorks Animation
Kathy Altieri, Production Designer, “How to Train Your Dragon”, DreamWorks Animation
Robert Holtzman, Nexon America

Tuesday, April 13

"Hubble 3-D": Filmmaking in Outer Space with IMAX Technology Tuesday, 04/13/2010 3:00pm - 3:50pm
Room N109

How did IMAX collaborate with NASA to capture the intergalactic imagery for "Hubble 3-D," the new motion picture about the final mission to repair the Hubble Space Telescope? How did director/producer Toni Myers and her crew train the space shuttle Atlantis astronauts to be filmmakers and realize the movie's vision? What was the stereographic 3D capture process and how was the equipment challenged by zero gravity and "daytimes" that lasted only 45 minutes? The "Hubble 3-D" and IMAX teams look at filmmaking in outer space and at the innovations that will power IMAX into the future.

Speaker(s):
Moderator(s):

Perry Hoberman, Research Associate Professor, University of Southern California

Panelist(s):

Brian Bonnick, Executive Vice President of Technology, IMAX Coporation
David Keighley, Executive Vice President, IMAX Corporation
Larry O’Reilly, Executive Vice President of Theater Development, IMAX Corporation
Toni Myers, Director, IMAX Corporation/ “Hubble 3D”

The Twenty-First Century Camera Crew and How it Works
Tuesday, 4/13/2010 02:30 PM - 03:30 PM
Room N234
Produced in Association with the International Cinematographer's Guild

How do you design a digital camera crew to meet the director's and cinematographer's working style, as well as the production's pipeline needs? How does this lineup vary for a high-end motion picture versus a project destined for HDTV? Why is there a digital imaging technician if the first assistant cameraman/woman knows HD? What are the workflow options for a WYSIWYG production, where what you see is what you get, and how is it different for a project slated for significant digital intermediate color correction? Leading digital filmmakers and crew explain how to configure a twenty-first century camera team and explore the challenges they face capturing, storing and moving digital assets on set.

Andy Romanoff
David Geffner
Jason Clark
Lewis Rothenberg
Steven Poster

Wednesday, April 14

The Business and Technology of Sports Broadcasting: From Mobile Devices to 3-D
Wednesday, 04/14/2010 11:30am - 12:30pm
Room Content Theater

Produced in association with Sports Video Group

Sports broadcasters and leagues played a key part in driving HD adoption. Will the same be true for 3D and mobile video devices? Top executives from networks and leagues discuss how they are gearing up for 3D at home, the business opportunities related to reaching mobile devices like the Apple iPad and phones. What are the challenges both technically and financially? And what do their efforts mean to local stations, cable operators, and digital cinema?

Moderator(s):

Ken Kerschbaumer, Editorial Director, Sports Video Group

Presenter(s):

PETER ANGELL, Director Production, Host Broadcast Services

Panelist(s):

George Hoover, CTO, NEP
Jerry Steinberg, SVP Field Operations, Fox Sports
KEN AAGAARD, EVP of Operations and Production, CBS Sports
Steve Hellmuth, EVP Operations and Technology, NBA Entertainment

I'll hopefully be making it to NAB this year to cover some of this stuff. Everything looks fascinating!

3D Shorts: Cameron's SANCTUM To Film In Queensland * Is It Real Or CGI? * Last Night's AVATAR Feature On HBO * And SPIDER-MAN 4 Not 3D Afterall?

Jim here. Catching up on 3D news? No better place in the world than right here! Got some fast flying updates for you on multiple projects:

1. James Cameron's SANCTUM (he is executive producing) is set to shoot in Queensland, Australia at the Warner Roadshow studio on the Gold Coast. They have world class underwater facilities there (largest tank in the southern hemisphere) and you will all know just how wonderful and awe inspiring underwater S3D action is after AVATAR. Something more to look forward to now!

What's the story about? ...(the movie) is based on the real-life experience of Australian producer and co-writer, Andrew Wight, who was diving beneath the Nullarbor when a storm collapsed the entrance to the cave, trapping him and his fellow divers (from mysunshinecoast.com.au).

Anything underwater with the names of James Cameron and Vince Pace is going to rock. Period. Put this one on your calendar without hesitation when it comes out.

2. Is it real or CGI? Quite the commotion has been stirred up from this little photo! Apparently a matte painter at Weta Digital has confirmed that EVERYTHING in this shot is CGI. Not one stitch of live action here, including Lang's face. And this is a SINGLE FRAME! Can you imagine how long it takes to create even a single scene with this level of detail?

I am literally stunned at the level of achievement here. Revolutionary comes to mind for so many different elements of AVATAR doesn't it? Great work guys!

3. Last Night's AVATAR Feature On HBO: Can't complain about the media we are getting now about AVATAR, unless you think it is too much! The good thing about that is you can scale that back yourself - whereas if there was far less media around... well, you get the idea. Have a look:




Love the Navi language training! :-)

4. SPIDER-MAN 4 Not In 3D Afterall? MEN IN BLACK IS? Sony CEO Howard Stringer stuck his neck out against the tide of 3D as his company ramps 3D in just about every feasible way. While he was at an electronics company's headquarters on Thursday he elaborated (From AP): Stringer said he didn't think the next "Spider-Man" sequel would be in 3-D either, but a 3-D version of "Men in Black" was being considered. It was unclear what titles in Sony's extensive film library might be reissued in 3-D, he added.

Ok. I am shaking my head at this one. He wants to ramp up revenue but hey, take on of their top assets off the 3D scene. Does not compute. SPIDER-MAN 4 would rake in web fulls of cash in 3D and IMAX.

Obviously Stringer business sense is NOT tingling here. MEN IN BLACK makes sense though. Sony just needs to get their ducks all lined up neatly here. I am checking with my sources on this.

Michael Jackson's THIS IS IT Concert May Not Be In 3D - But Could Be 3D On Disc! Interview: Todd Cogan, Producer

Jim here. Just got off the phone with Todd Cogan, 3D Producer and Stereographer of Michael Jackson's THIS IS IT concert movie that opens tonight at midnight at various locations and wide tomorrow. Todd has a very impressive background in 3D to say the least (one that I am very envious of) and has done extensive work with PACE (Vince) and Lightstorm (Jim Cameron).

What an exciting movie and what an exciting concert it would have been. While Todd could not confirm or deny that there will be screenings of THIS IS IT in 3D, he did say that Sony has all the stereoscopic 3D assets in hand to make it so. Perhaps this is something that they will do in the future for a re-release of the concert film - 'cause this thing is going to open BIG.

They used a 33' by 88' LED screen to show the 3D elements to the would be audience during their rehearsals at The Forum and The Staples Center - he believes that this is the world's first LED screen of this size to be used for 3D.

Had the 3D elements been used intact, there would have been several 4 to 5 minute segments all in 3D. As it turns out, these bits were edited to make the whole piece stand together in a cohesive fashion - hence no 3D as people would be taking their glasses off and on again and again (I suppose they could have converted the whole thing to 3D afterward - no issue there, except for time). I was sad to hear that, but again - these assets still exist and could be used in the future.

Sony will decide on how to release the concert on disc - there is a chance that these 3D elements will be an added feature on these.

There were two main 3D segments: EARTH SONG - focused on conservation (had a race horse scene) and the intro to THRILLER. The latter had a 100' graveyard set built! There was also a haunted mansion.

One of the big things that Michael Jackson insisted on throughout the show was in his own words: "The butterflies will be in your face right"? Apparently he was very interested in bringing the audience into the show through 3D and was a firm believer in the technology. You got to hand it to the King of Pop - he was on top of the tech. He had butterflies, birds, dandelions, bats from a crypt, etc all appearing in coordination with the music and action in a fantastical concert experience. He wanted them floating right out over the audience.

The movie is just under 2 hours long apparently and will be released mainly on 35mm film (to suit the worldwide audience I would imagine). On a technical side, Todd and PACE used a beamsplitter (just like as it sounds - splits light entering the camera for stereo), F23, steadicam, and mainly lived of their 50' techno. There were a lot of effects in a short period of time. In fact, Todd was anticipated making tweaks as the shows progressed due to that time constraint. The team was only a week and a half away from delivering the finished work when Jackson passed away. Michael did however get to see all of this work and had approved it - that was good to hear.

It was great talking to someone so passionate about 3D and who has his hands dirty with so many different projects. He has a couple of secret current projects he is working on that he could not talk about, but you could hear in his voice that he is excited. Can't wait to see the concert and enjoy what millions of others will - and break some concert movie records at the same time!! Hopefully we will see the 3D elements of this concert at some point! Thanks for the chat Todd.

ESPN's S3D Coverage of USC - Ohio State Game Continues Great Word Of Mouth

Jim here. The reviews have been stellar - live sports broadcasting is certainly here! Variety reports that the ESPN S3D coverage of the USC - Ohio State football game continues to get awesome word of mouth at the 3D Entertainment Summit taking place right now at the Universal Hilton.

The live 3D was handled by the ever present Vince Pace. His cameras are also being used in December's AVATAR (to name one of many projects) and if his schedule is any indication of the future of 3D - it's looking darn good.

From Variety: Random fans from the main floor were invited up to watch the S3D coverage for a few minutes. Most, if not all, were seeing S3D TV for the first time. Some 50 answered an extensive survey on their reaction from ESPN; we peeked at a few, and all of those were very positive. One fan was overheard to say, "It's really like being there," and another noted, "It's addictive."

Significantly, after a few minutes watching S3D, some would notice instantly when the broadcast picked up a flat shot from the 2D feed.

The Skycam, which flies above the action on cables, wasn't used for the coverage. There wasn't time to safety-test an S3D Skycam, but Vince Pace promises, "Next time, watch out."

Even live sports coverage, it turns out, is not immune from gimmick 3D shots. When sideline reporter Ed Cunningham found Super Bowl hero Santonio Holmes on the sideline, he asked Holmes to show his championship ring to the folks at home -- and put it right into the camera. Sure enough, Holmes' hand seemed to extend out past the screen, drawing laughter and cheers from the ESPN Zone crowd. Think "Dr. Tongue's 3D House of Super Bowl Rings."

"I had talked to Ed before about not being afraid to have fun," Pace said. "It's a natural part of a 3D presentation to say hello to the camera that way." And, he notes with some pride, "Technically, it was pulled off perfectly."

Great to see more live sports broadcasts taking place and more than one company backing the technology to do so. 3ality Digital also does live sports broadcasting with one of their last efforts being the BCS Championship Game broadcast during CES in 3D.

I would like to see a ramp up of live 3D sports being pumped into theater screens, especially Sunday afternoons. Perhaps a drinking age crowd? Certainly makes sense for playoff season!

THIS IS IT: Michael Jackson's Concert Movie Gets A Date With 3D

Jim here. Michael Jackson's concert movie is a go and slated for this October 30 - Halloween weekend. Here is what we know so far:

According to the LATimes, Kenny Ortega (HIGH SCHOOL MUSICAL) is being courted to direct the movie as he was Jackson's creative partner for the concert series. Whoever directs will be the lead on sifting through all the concert rehearsal / behind the scenes (BTS) footage and selecting the scenes to include for the King of Pop's fans.

Portions of the movie will indeed be in 3D. In conversations I have had with Vince Pace, there were 3D shots taken of Jackson and others with the FUSION cameras that were intended to be used for a huge display that would have graced his THIS IS IT stage in London. They were shooting for 10 days so the footage could be instrumental for this movie - at least the 3D portions of it.

Pace was contacted to do the work on the project in the middle of May and both Vince and Jim Cameron felt it was a perfect fit.

Says Vince: "It was an exciting project and we were proud to be a part of it. Michael Jackson was always ahead of the pack and his embrace of 3D proved that he was still innovating. Both Jim and I were anxious to see the results of the collaboration of everyone involved."

So now we know that those 3D shots will be in the concert movie. I am a sucker for BTS footage so I will be most intrigued with the informal shots. Sony paid $60m for the rights so it will be done right I am sure.

The Final Destination Trailer Online!

Michael here.  This looks like so much fun.  And I love how at the end it says "2-D in select theaters."  Seems like the tides have turned!

Click here for HD version

Vince Pace and his team did the 3D work on this film (using the same Pace Fusion 3D camera system used on Avatar), so you will be getting the state of the art.

CES 2009: Panasonic 103 inch Full HD 3D Plasma Details

Michael here. Panasonic is really leading the charge for bringing the 3D theatrical experience into the home, both technically and in getting the word out.

According to information sheets at CES, Panasonic's system works from a single 50 GB Blu-ray disc (using a modified Blu-ray player), feeding the 3DTV successive Full HD left and right-eye images at 60 frames per second apiece, for a total of 120 frames per second. That's significantly better than any other system currently being demoed.

They are utilizing the same 103 inch Plasma 3DTV that they showed at the 3D Entertainment Summit, this time showing some extra clips, including some spectacular footage of Aliens of the Deep, Ghost of the Abyss, sporting events and music videos from PACE.

Sony is refusing to discuss the technology behind their CES 3DTV demo, which uses polarized glasses, stressing that they do not want people thinking that they have chosen to pursue any particular 3DTV design. Samsung is using shutter glasses in their demo, but are emphasizing their technology's ability to convert 2D content (films, games) to 3D in real-time instead of duplicating the theatrical experience in the home.

I personally agree with Panasonic that shutter glasses are the way to go for 3DTV's. In every single case that I've seen, 3DTV systems employing polarized glasses have a picture that looks substantially below 1080p resolution. This is likely due to the polarizing layer on the screen polarizing only half the horizontal lines of the image at a time, effectively cutting the resolution in half. Until passive 3DTV systems figure out a way to show successive 1080p left and right-eye images without sacrificing resolution or framerate, the shutter glasses method will be the way to go. Although polarized glasses systems (such as REAL D) are ideal for the multiple-viewer theater environment (it is more logistically difficult for theaters to manage hundreds of pairs of the relatively expensive shutter glasses as opposed to the super cheap recyclable plastic polarized ones), it seems wise to uses shutter glasses in the home, as this will eliminate the need to expensively modify HDTV's to be capable of polarizing their images. It makes sense to me to just buy a pair of shutter glasses and a base station that will synch to any TV.

I really hope that Panasonic manages to get its system (albeit likely using a smaller TV) into the home as soon as possible. I'm optimistic that we will have at least a de-facto standard for 3DTV by the end of 2009, and I think that Panasonic is very well positioned to become that standard.