DOCSLIB.ORG

AT-13-0159 Waiting for the Next Wave

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
AT-13-0159 Waiting for the Next Wave Waiting for the next wave 3D entertainment 2012 www.pwc.com Contents Introduction 1 3D films 2 3D television 10 Other 3D screens 16 3D screens’ penetration forecast 18 2 Waiting for the next wave As we continue to analyse the 3D entertainment markets, we interview players around the world in the different industries including film studios, game studios, broadcasters, pay‑TV operators, network operators and main entertainment screens. Introduction Reviewing the past two years The 3D film industry underperformed in the 3D entertainment in the US in 2011, though it did better market, we now find a lull – in Europe and China. The conversion an industry that has lost of cinemas to both digital and 3D momentum and faces strong continues, but the pace of conversion varies across regions. headwinds. The early success of 3D and the record‑breaking In television, 3D TV sets sold quickly – accomplishments of Avatar far more quickly than HD TV had. led to overexcitement and, But there are few 3D TV programmes, in many cases, too much and this situation may continue as mediocre content that could there is no stand-alone business case not justify the premium prices for a 3D TV channel. On other fronts, that cinemas charged for 3D. and other types of screens, small accomplishments offered scant hope for momentum in the short term. The most interesting prospects for 3D could be in user-generated content rather than in professional development. So overall, 3D entertainment awaits the next wave. Can the film industry produce an Avatar-like surprise? Can consumers stir up demand for user-generated 3D content? It is hard to be optimistic in the short term. 3D entertainment 2012 1 In the US, growth potential seems limited in the short term, as the film‑screen digitisation phase is coming to an end. The number of 3D screens revenue (the 3D ticket premium) has more than tripled since that could be split by the exhibitor 3D films Avatar in 2009, not only in and the distributor/producer. In the US, but in all regions. 2009, the share of 3D box‑office revenues was 38% higher than the We see regional variations in the share of 3D cinemas releasing the additional growth potential for 3D film vs 9% higher in 2010 and 10% screens (see figures 1, 2 and 3). In the lower in 2011. US, growth potential seems limited in These disappointing results have added the short term, as the film‑screen fuel to a debate on 3D sustainability digitisation phase is coming to an end. and on the value of the 3D premium In other regions, the pursuit of that has raged in the US since Avatar digitisation will drive the penetration (see figure 9). “The audiences have of 3D screens, as the 3D upgrade is now come to realise that there are bad marginal compared with the movies that can be in 3D as well, and investment to digitise. that on top of that you are being charged an extra $5 to see a movie that This positive development in 3D-screen was as bad as the one you saw in 2D,” penetration does not translate said director Peter Jackson*. The 3D satisfactorily into box‑office revenues. premiums “are starting to backfire a What a disappointing year 2011 turned little bit,” he added. And this pressure out to be for 3D film in the US. on the 3D price premium makes 3D less appealing for studios. While 3D maintained its market share among the 20 top‑grossing films in the On the positive side is the very notable US in 2011 (see figure 4), the overall exception of IMAX cinemas, which results were not good in the US. continue to show strong growth globally, and which are generally held Among the disappointing indicators to deliver strong value for its price in the US: premium (see figure 10). Steven • The share of box‑office revenues Spielberg told a group of journalists*: generated by 3D decreased in “I am certainly hoping that 3D gets to 2011 for all genres (see figure 5), but a point where people do not notice it. also for specific genres such as Because once they stop noticing it, it animation and live action films just becomes another tool and helps (see figures 6 and 7). tell a story. Then maybe they can make ticket prices comparable to a 2D movie • The average 3D box‑office revenue and not charge such exorbitant prices of 3D screens decreased in 2011 just to gain entry into a 3D one, with (see figure 8) with two possible the exception of IMAX – we are getting explanations: a potential decrease a premium experience in a premium of the 3D ticket premium and a environment.” decreasing fill‑in ratio of 3D screens. Both explanations raise critical issues on the sustainability of the 3D business case, as 3D was supposed to provide additional *Source: http://movies.about.com/od/theadventuresoftintin/a/steven-spielberg-peter-jackson-interview.htm 2 Waiting for the next wave Another positive development in 3D is So what lies ahead for the Development of 3D the strong performance abroad of 3D 3D film industry? films from the US studios (see figures The number of 3D films released films in 2011 was 11, 12 and 13). The critical markets for has stabilised, with the number of sharply mixed with US studios outside the US had strong 3D films announced and planned disappointing US years in 2011, and the 3D price for 2012, comparable in number premium held up, though much more to those released in 2011 (see box‑office figures for so on IMAX screens. figure 14). 3D films and pressure China, now the world’s second-biggest The disappointments of 2011 have on 3D ticket premiums film market after the US, has a growing created risk aversion. One lesson partially balanced by middle class that enjoys a night out. learned is that 3D does best when it a growing number of And China is taking steps to encourage concentrates on animation, or on 3D growth. For years, China limited established franchises. As a result, 3D screens and strong the number of foreign films that could we will see ‘The Amazing Spider-Man’, international box‑ be shown in China each year to 20. a reboot of the ‘Spider-Man’ franchise, It recently agreed to increase that to as well as Jackson’s ‘The Hobbit’, office results. 34, provided the additional 14 films both likely to build on the strong were shown in 3D or large format. track record of their predecessors. We will also see 3D re-releases of The Chinese are also encouraging films including ‘Beauty and the Beast’ co‑production; films made by Hollywood and ‘Star Wars: Episode 1’. In contrast, studios with a Chinese partner do not original live action films are not count against that total. likely to flourish (see figure 15). Outside China, the share of box‑office revenues generated by 3D remains relatively high, except in the US In the medium term, another cause for optimism is that some of the biggest names in film‑making – Martin Scorcese, George Lucas, Steven Spielberg or Peter Jackson, along with James Cameron – have committed to 3D. Scorcese’s ‘Hugo’ was released in late 2011, and Scorcese was pleased with the result and said he would direct more 3D films; Jackson’s ‘The Hobbit’ will be released in late 2012. Just as encouraging for 3D is the emergence of an increasingly solid 3D production and post-production ecosystem in the US demand continues to grow for skilled 3D professionals; one service provider said that more than half of all demand for film professionals involves 3D. So people are being trained, and they are finding work. 3D entertainment 2012 3 Figure 1: 3D film screens (in units) Figure 2: Cinema screens by format (2011, in units) CAGR 2009-11 45,000 (in%) 40,000 +99% 40,000 35,479 35,000 +137% 35,000 13,695 11,642 30,000 +126% 30,000 8,116 25,000 25,000 22,411 7,592 13,774 5,769 20,000 +82% 20,000 15,000 15000 10,000 19,977 10,000 9004 18,285 2,026 14,921 +69% 5,000 7,873 5,000 2,536 1,297 0 0 US/Canada EMEA Asia Pacific Latin 2007 2008 2009 2010 2011 America US/Canada EMEA Asia Pacific Latin America Analog Digital non-3D Digital 3D Source: MPAA, IHS Screen Digest, PwC analysis Source: MPAA, IHS Screen Digest, PwC analysis Figure 3: Cinema screens by format (2011, in %) - 50% of - 60% of digital digital screens screens 100 25% 30% 25% 80 32% 1% 18% 60 19% 32% 79% 40 57% 51% 20 35% 0 US/Canada EMEA Asia Pacific Latin America Analog Digital non-3D Digital 3D Source: MPAA, IHS Screen Digest, PwC analysis 4 Waiting for the next wave Figure 4: Films released in 3D among Top 20 grossing films in the US 2007 2008 2009 2010 2011 1 Spider‑Man 3 Dark Knight Transformers 2 Toy Story 3 Harry Potter 7 – Part 2 2 Shrek the Third Iron Man Avatar Avatar Transformers 3 Transformers Indiana Jones 4 Harry Potter Alice in Wonderland Twilight – Breaking Dawn 1 4 Pirates of the Carib. Hancock Up Iron Man 2 Hangover 2 5 Harry Potter WALL‑E Twilight – New Moon Twilight: Eclipse Pirates of the Caribbean 6 Bourne Ultimatum Kung Fu Panda Hangover Inception Fast Five 7 300 Madagascar Star Trek Harry Potter 7– Part 1 Cars 2 8 Ratatouille Twilight Blind Side Despicable Me Thor 9 I Am Legend Quantum of Solace Monster vs.
Load more

Recommended publications
  • Phil Lelyveld
    Phil Lelyveld Program Manager, Consumer 3D Experience Lab, USC Entertainment Technology Center Entertainment Technology Research and Bus Dev Consultant www.etcenter.org www.PhilipLelyveld.com 1" How"does"3D"work?" • The"main"depth"cues"are"monocular" • Disparity"s@mulates"stereopsis" • Stereopsis"signals"only"rela@ve"depth" Source:"Dr."Jim"Sheedy,"Pacific"University’s"3D"and"Vision"Conf.,"6/1/11" Philip"Lelyveld"–"www.PhilipLelyveld.com" 2" Hype"Cycle" (Gartner)" Peak"of"inflated"expecta@ons" Plateau"of"produc@vity" Slope"of"enlightenment" Trough"of"disillusionment" Technology"trigger" Philip"Lelyveld"–"www.PhilipLelyveld.com" 3" 3D Cinema Number of 3D Feature Movies by Year 30 20 10 0 1953 1990 1970 2010 Film-based 3D Movie Titles Digital 3D Movie Titles Source: Digdia (www.Digdia.com), June, 2009 Report – Digital 3D Entertainment, From Theatre to the Home 5 Leading 3D cinema systems Dolby&(color&shi:)& RealD&(polarized)& MasterImage&(polarized)& XpanD&(ac)ve&shu/er)&6" 30,000+ 3D screens worldwide China = 6000+ 3D Screens US/Canada Dean, Beijing Film Academy China 4/27/12 France UK Germany Russia Mexico +50% CinemasSpain worldwide are now digital +50% DigitalJapan cinemas are now 3D capable (Source:"4"Reasons"3D"Movies"Aren’t"Just"a"Fad,"Mashable,"12/22/11)" hYp://www.studiodaily.com/main/news/headlines/StereoZ3DZSmartphoneZMarketZPoisedZtoZExplode_13567.html" Average"perZscreen"revenue" 3D"screens"versus"2D"screens" (Source:"4"Reasons"3D"Movies"Aren’t"Just"a"Fad,"Mashable,"12/22/11Philip"Lelyveld"–"www.PhilipLelyveld.com)"" 9" hYp://www.studiodaily.com/main/news/headlines/StereoZ3DZSmartphoneZMarketZPoisedZtoZExplode_13567.html"
    [Show full text]
  • Sky Italia 1 Sky Italia
    Sky Italia 1 Sky Italia Sky Italia S.r.l. Nazione Italia Tipologia Società a responsabilità limitata Fondazione 31 luglio 2003 Fondata da Rupert Murdoch Sede principale Milano, Roma Gruppo News Corporation Persone chiave • James Murdoch: Presidente • Andrea Zappia: Amministratore Delegato • Andrea Scrosati: Vicepresidente Settore Media Prodotti Pay TV [1] Fatturato 2,740 miliardi di € (2010) [1] Risultato operativo 176 milioni di € (2010) [2] Utile netto 439 milioni di € (2009) Dipendenti 5000 (2011) Slogan Liberi di... [3] Sito web www.sky.it Sky Italia S.r.l. è la piattaforma televisiva digitale italiana del gruppo News Corporation, nata il 31 Luglio 2003 dall’operazione di concentrazione che ha coinvolto le due precedenti piattaforme Stream TV e Telepiù. Sky svolge la propria attività nel settore delle Pay TV via satellite, offrendo ai propri abbonati una serie di servizi, anche interattivi, accessibili previa installazione di una parabola satellitare, mediante un ricevitore di decodifica del segnale ed una smart card, abilitata alla visione dei contenuti diffusi da Sky. Sky viene diffusa agli utenti via satellite dalla flotta di satelliti Hot Bird posizionata a 13° est (i satelliti normalmente utilizzati per i servizi televisivi destinati all'Italia) e via cavo con le piattaforme televisive commerciali IPTV: TV di Fastweb, IPTV di Telecom Italia e Infostrada TV. Sky Italia 2 Storia • 2003 • Marzo: la Commissione europea autorizza la fusione tra TELE+ e Stream, da cui nasce Sky Italia. • Luglio: il 31 luglio Sky Italia inizia ufficialmente a trasmettere. • 2004 • Aprile: Sky abbandona il sistema di codifica SECA per passare all'NDS, gestito da News Corporation.
    [Show full text]
  • 2019 13-Itcon-Hamzeh.Pdf
    www.itcon.org - Journal of Information Technology in Construction - ISSN 1874-4753 3D VISUALIZATION TECHNIQUES IN THE AEC INDUSTRY: THE POSSIBLE USES OF HOLOGRAPHY SUBMITTED: April 2018 REVISED: April 2019 PUBLISHED: June 2019 at https://www.itcon.org/2019/13 EDITOR: Turk Ž. Farook Hamzeh, Assistant Professor, American University of Beirut; [email protected] Hisham Abou-Ibrahim, PhD Candidate, American University of Beirut; [email protected] Anthony Daou, Graduate Student, American University of Beirut; [email protected] Mazen Faloughi, Graduate Student, American University of Beirut; [email protected] Nadim Kawwa, Graduate Student, American University of Beirut; [email protected] SUMMARY: Different visualization techniques are used to display and communicate information in the architecture, engineering, and construction (AEC) industry. While 2D representations have been historically used to communicate designers’ intent, 3D representation technologies have been increasingly used in the AEC industry. In this regard, designers gained more flexibility to express their 3D designs on one hand, and to communicate their intent to involved stakeholders on the other. However, current 3D visualization tools still rely on different forms of screens as a communication interface between information stored in a computer and involved users which may affect the interpretability of modeled information. In this context, this study explores the use of holography to represent and share construction information in both the design and construction phases of AEC projects. This paper reviews the current state of art in holographic visualization, examines the various techniques used to create holograms, evaluates the potential use of holography in construction, and compares it to other physical and digital modeling methods currently in use.
    [Show full text]
  • Important Notice
    IMPORTANT NOTICE THIS OFFERING IS AVAILABLE ONLY TO INVESTORS WHO ARE NON-U.S. PERSONS (AS DEFINED IN REGULATION S UNDER THE UNITED STATES SECURITIES ACT OF 1933 (THE “SECURITIES ACT”) (“REGULATION S”)) LOCATED OUTSIDE OF THE UNITED STATES. IMPORTANT: You must read the following before continuing. The following applies to the attached document (the “document”) and you are therefore advised to read this carefully before reading, accessing or making any other use of the document. In accessing the document, you agree to be bound by the following terms and conditions, including any modifications to them any time you receive any information from Sky plc (formerly known as British Sky Broadcasting Group plc) (the “Issuer”), Sky Group Finance plc (formerly known as BSkyB Finance UK plc), Sky UK Limited (formerly known as British Sky Broadcasting Limited), Sky Subscribers Services Limited or Sky Telecommunications Services Limited (formerly known as BSkyB Telecommunications Services Limited) (together, the “Guarantors”) or Barclays Bank PLC or Société Générale (together, the “Joint Lead Managers”) as a result of such access. NOTHING IN THIS ELECTRONIC TRANSMISSION CONSTITUTES AN OFFER OF SECURITIES FOR SALE IN THE UNITED STATES OR ANY OTHER JURISDICTION WHERE IT IS UNLAWFUL TO DO SO. THE SECURITIES AND THE GUARANTEES HAVE NOT BEEN, AND WILL NOT BE, REGISTERED UNDER THE SECURITIES ACT, OR THE SECURITIES LAWS OF ANY STATE OF THE UNITED STATES OR OTHER JURISDICTION AND THE SECURITIES AND THE GUARANTEES MAY NOT BE OFFERED OR SOLD, DIRECTLY OR INDIRECTLY, WITHIN THE UNITED STATES OR TO, OR FOR THE ACCOUNT OR BENEFIT OF, U.S.
    [Show full text]
  • Download Our Documentary 2017/2022
    Entertain your brain 2021-2022 DOCUMENTARY CATALOGUE Nexo Digital Entertain your Brain A leading player in international sales and distribution of cinematic documentaries and 4k native con- tents to portray Art, narrate History and experience Music pop icons and Sport legends. Since 2017 we are also involved in production. Nexo+ is the newest art & culture OTT platform to entertain your brain. Our catalogue also includes Stories to tell of Disability and Inclusion, Expedition one-offs specials as well as mini factual series. Nexo Digital has also been producing cinematic documentaries with important partners like The Hermitage, The Prado, The Vatican Museums, The Uffizi Gallery - prestigious mu- seums, important exhibitions - stories narrated by Oscar winners such as Jeremy Irons and Helen Mirren. SERIES DELIVERY: SPRING 2022 PILOT AVAILABLE: JULY 2021 The Grand Egyptian Museum Collection A brand new original 13x 26’ series on the collections from the biggest Archaeological Museum in the World to be inaugurated in 2022 NEXO DIGITAL KICKS OFF PRESALES MOOD TEASER >> EGYPT NEW NEW NEW YESTERDAY AND TOMORROW INDEX >> 1 TUTANKHAMUN ONCE UPON A TIME ROOTS OF EGYPT THE THROBBING RED SEA THE EGYPTIAN THE LAST EXHIBITION IN EGYPT SERIES DESERT THE HERITAGE OF THE PHARAOHS SERIES ICONS TO NEW NEW NEW DISABILITY NEW NEW CELEBRATE AND >> INCLUSION >> FRIDA MARIA MONTESSORI FREUD 2.0 PELÉ FERRARI 312B ROBERTO BOLLE BECAUSE OF MY DON’T BE AFRAID IF VIVA LA VIDA THE VISIONARY THE LAST SHOW WHERE THE THE ART OF DANCE BODY I HUG YOU EDUCATOR REVOLUTION
    [Show full text]
  • 3. Digital 3D, Parallax Effects, and the Construction of Film Space In
    3. Digital 3D, Parallax Effects, and the Construction of Film Space in Tangled 3D and Cave of Forgotten Dreams 3D Kristen Whissel Abstract This essay analyzes how parallax effects in Cave of Forgotten Dreams 3D (2010) and Tangled 3D (2010) effectively blur the boundaries between the past and present, sight and touch, and diegetic space and the space of reception in order to give form to themes concerning the dimensionality of the moving image. I show how these films function as ideal case studies for demonstrating digital 3D’s transformation of film space by organizing seeing, knowing, and feeling along the screen’s z-axis. Keywords: Digital 3D, parallax effects, affect, haptics, uncanny Since the release of Chicken Little 3D (Mark Dindal) in 2005, digital 3D cinema has had the odd historical status of being a ‘new’ medium that has returned to us from the past as a harbinger of cinema’s future. To be sure, digital 3D has transformed our understanding of the (pre-)history of the cinema itself, which now must include Charles Wheatstone’s invention of the stereoscope (1838) and Charles Babbage’s invention of the Analytical Engine (1837) in the first half of the 19th century. However long this history, the return of stereoscopic 3D as a digital medium demands a rethinking of film history to include the changing dimensionality of the moving image and, with it, transformations in the articulation of film space. Much as digital tools provide new means for organizing the image along and around the x- (horizontal) and y- (vertical) axes, they have also provided, as Stephen Prince has argued, new means for ‘choreographing’ story, character, and action along the z-axis—a continuum that stretches from the extreme Sæther, S.Ø.
    [Show full text]
  • Sky Chooses Vizrt for Stereo 3D Channel
    Sky Chooses Vizrt for Stereo 3D Channel Bergen, Norway, March 23, 2010. Vizrt Ltd. (Oslo Main List: VIZ) Sky Sports today announced that it has chosen Vizrt as the core graphics platform for its 3DTV channel, due to launch in April. Darren Long, Sky Sports’ Director of Operations described his reasons for the decision, “We have worked with Vizrt for more than ten years. They have supported us with excellent graphics for our SD sports coverage, then later for HD and now they will do so again for 3D. Vizrt has always been a real-time 3D system and this meant it was easy for our designers to convert Sky Sports’ current HD designs to their stereo 3D equivalents. The results are stunning and the graphics drew special attention from viewers when we recently ran our world’s first stereo 3D football match trial. I am sure that Vizrt’s graphics will enhance our new 3D channel, just as they do for all our other channels.” The stereoscopic Vizrt system uses a Viz Trio CG operator interface, controlling a Viz render engine PC. This powerful graphics engine uses two graphics cards and the separately rendered HD channels for each eye are synchronised by a new application developed for the process. The stereoscopic convergence point and depth are also adjustable on the fly to allow for changing camera views. The system can also be driven by GPI triggers from the vision- mixing desk. Vizrt UK’s Managing Director, Rex Jenkins added, “Sky Sports demands the highest quality from its graphics systems and we are glad to meet their needs.
    [Show full text]
  • Dynamic Accommodative Response to Different Visual Stimuli
    Ophthalmic & Physiological Optics ISSN 0275-5408 Dynamic accommodative response to different visual stimuli (2D vs 3D) while watching television and while playing Nintendo 3DS Console Sı´lvia Oliveira, Jorge Jorge and Jose ´ M Gonza ´ lez-Me ´ ijome Clinical and Experimental Optometry Research Lab, Centre of Physics (Optometry), School of Sciences, University of Minho, Braga, Portugal Citation information: Oliveira S, Jorge J & Gonza ´ lez-Me ´ijome JM. Dynamic accommodative response to different visual stimuli (2D vs 3D) while watching television and while playing Nintendo 3DS Console. Ophthalmic Physiol Opt 2012, 32 , 383–389. doi: 10.1111/j.1475-1313.2012.00934.x Keywords: 3D television, accommodative Abstract response, Nintendo 3DS, three dimensions Purpose: The aim of the present study was to compare the accommodative Correspondence : Sı´lvia Oliveira response to the same visual content presented in two dimensions (2D) and ste- E-mail address: [email protected] reoscopically in three dimensions (3D) while participants were either watching a television (TV) or Nintendo 3DS console. Received: 06 January 2012; Accepted: 18 July Methods: Twenty-two university students, with a mean age of 20.3 ± 2.0 years 2012 (mean ± S.D.), were recruited to participate in the TV experiment and fifteen, with a mean age of 20.1 ± 1.5 years took part in the Nintendo 3DS console study. The accommodative response was measured using a Grand Seiko WAM 5500 autorefractor. In the TV experiment, three conditions were used initially: the film was viewed in 2D mode (TV2D without glasses), the same sequence was watched in 2D whilst shutter-glasses were worn (TV2D with glasses) and the sequence was viewed in 3D mode (TV3D).
    [Show full text]
  • Dimensional Television Just a Fashion That Comes and Goes Like A
    Broadcasting Has 3D TV come of age? Everyone wants to know: is three- dimensional television just a fashion that comes and goes like a spring clothing collection? Or will it be different this time? The 2010 FIFA World Cup in South Africa and the 2012 Summer Olympic AFP Games in London will include 3D television coverage, heightening the public’s appetite for this new viewing experience. 4 ITU News 2 | 2010 March 2010 Has 3D TV come of age? Broadcasting ITU/V. Martin ITU/V. D. Wood Christoph Dosch David Wood Chairman of ITU–R Chairman of ITU–R Study Group 6 Working Party 6C Has 3D TV come of age? Everyone wants to know: is three-dimensional tel- There are indications that, if ever 3D TV was go- evision (3D TV) just a fashion that comes and goes ing to succeed, now is the time. A confl uence of fac- like a spring clothing collection? That is rather how it tors means that the quality of 3D TV is going to be has been regarded before — more than once. About higher than was ever possible before. But with a his- every 25 years, since the beginning of the twentieth tory of “boom and bust”, and arguably with some century, 3D catches the public (and business) imagi- eye fatigue issues still unresolved, is this the time for nation. Each time its star fades. But each time its se- the viewer or industry to invest in 3D TV? The answer crets are kept alive by enthusiasts. is that no one knows for sure, but success or failure Will it be different this time? Will the technology in agreeing common technical standards will play a be able to permanently win audiences for television, part.
    [Show full text]
  • To Fully Enjoy the Magic of Sky 3D on Your Sky 3D TV, Follow Our Guide to Achieving the Ultimate 3D Viewing Experience
    To fully enjoy the magic of Sky 3D on your Sky 3D TV, follow our guide to achieving the ultimate 3D viewing experience. You’ll be sitting back and watching all the action leap out into your home in no time. Barclays Premier League showing on Sky 3D 1 To help you enjoy the very best 3D TV experience, check out our handy hints below. It’ll only take a few minor tweaks here and there, but we think you’ll agree they’ll be worth it when you see the end results jumping out of your TV screen. 5 handy hints for the ultimate 3D viewing experience 3D mode First things first. To view the Sky 3D channel, your TV needs to be in its 3D mode. Your TV manual should show you how to do this. Please be aware that some screens do not allow you “menu” access to brightness when in 3D mode. Lighting and reflections Dimming the lights or closing your curtains can really add to the joy of 3D. It helps you forget you’re in your living room and gets you into the thick of the action of the latest blockbuster movies, sporting events or concerts. Brightness Your 3D glasses can sometimes make the TV screen appear a bit darker. If the screen does appear dimmed in 3D mode, turn up the brightness a little – that’s if your TV doesn’t do it automatically. Kylie Minogue – Aphrodite Les Folies – Live in London 2011 showing on Sky 3D 2 Best position To enhance your enjoyment (and let you see the best 3D images) make sure you’re not sitting too close or too far away from your 3D TV (see our recommendation below).
    [Show full text]
  • 3D-Con2017program.Pdf
    There are 500 Stories at 3D-Con: This is One of Them I would like to welcome you to 3D-Con, a combined convention for the ISU and NSA. This is my second convention that I have been chairman for and fourth Southern California one that I have attended. Incidentally the first convention I chaired was the first one that used the moniker 3D-Con as suggested by Eric Kurland. This event has been harder to plan due to the absence of two friends who were movers and shakers from the last convention, David Washburn and Ray Zone. Both passed before their time soon after the last convention. I thought about both often when planning for this convention. The old police procedural movie the Naked City starts with the quote “There are eight million stories in the naked city; this has been one of them.” The same can be said of our interest in 3D. Everyone usually has an interesting and per- sonal reason that they migrated into this unusual hobby. In Figure 1 My Dad and his sister on a keystone view 1932. a talk I did at the last convention I mentioned how I got inter- ested in 3D. I was visiting the Getty Museum in southern Cali- fornia where they had a sequential viewer with 3D Civil War stereoviews, which I found fascinating. My wife then bought me some cards and a Holmes viewer for my birthday. When my family learned that I had a stereo viewer they sent me the only surviving photographs from my fa- ther’s childhood which happened to be stereoviews tak- en in 1932 in Norwalk, Ohio by the Keystone View Com- pany.
    [Show full text]
  • 3D-TV R&D Activities in Europe
    408 IEEE TRANSACTIONS ON BROADCASTING, VOL. 57, NO. 2, JUNE 2011 3D-TV R&D Activities in Europe Oliver Grau, Member, IEEE, Thierry Borel, Peter Kauff, Aljoscha Smolic, and Ralf Tanger, Member, IEEE Abstract—3D-TV is a topic that has been studied for many years depth-based and model-based stereo representations. These rep- in Europe. Through the research frameworks of the European resentations allow for adjustments in post-production and at the Commission in particular, a number of long-term issues have been user side. Moreover, they enable usage of more advanced dis- addressed to overcome limitations of the traditional two-view stereoscopy. This article gives a brief overview of the goals and play techniques, in particular auto-stereoscopic and holographic achievements of some completed European projects starting in displays. the 1990s. It then reviews the topics related to 3D-TV in recent European research. Finally an overview with a selection of recent A. Scope projects is presented. This paper aims to give an overview of some of the research Index Terms—Digital video broadcasting, multimedia systems, and development (R&D) activities on subjects related to 3D-TV stereo vision, TV broadcasting. in Europe. Again, Europe has a long history of both research and implementation of these results by industry. However, such an overview can never be complete. We aim to give a brief overview I. INTRODUCTION of past research and a snap-shot of recent activities. The projects UROPE has a long history in three-dimensional television or working groups mentioned represent only a sample of the E (3D-TV), starting from the first demonstration of stereo- overall R&D effort and further literature is referenced where scopic television by Baird in 1928.
    [Show full text]