Guest Article by our friend Ole Schell:

Ever wanted to make a film about an Australian supermodel driving a souped-up racecar against 30 motorcycles while she was being chased by a helicopter and airplane? Coincidence, so did I.

And by maximizing what we had around us, forging new relationships, seizing unexpected opportunities, and some old fashioned ingenuity, we did it for less than a few thousand bucks. You can watch it below.

Step #1:
We called the GoPro general tech support line and asked for some 3D help. Not only did they give it, but the very same GoPro tech offered to come on our first day of shooting personally at 5:30 am with a ton of equipment. He rigged our airplane (see video below), sponsored us with gear, and showed us the 3D GoPro ropes. Cost: $0

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colorcodePress release: (Gothenburg/Melbourne/Las Vegas)

Prior to the NAB Show 2014 in Las Vegas the 3D technology company and the 3D/4k content distributor announce a strategic partnership. 3D Content Hub’s extensive 3D library will be made available using ColorCode 3-D format enabling easy accessible mass distribution of 3D content to anyone, anywhere using standard (2D) displays.

“This cooperation opens up new possibilities for traditional broadcasters, VOD platforms, and providers of educational content to start offering high quality 3D content to all their 2D viewers”, says Torsten Hoffmann, 3D Content Hub’s CEO, adding “and it works across all platforms such as tablet/iPad, web, IPTV, digital broadcast, or BluRay/DVD”.

Lately 3D has been categorized as failed technology even though the results at the box office Continue Reading »





Interview by Torsten Hoffmann, originally published on 3DContentBlog.com (April 2014)

1. What’s your background in 3D and how did you get started?

geek1When I was a kid, there was a local cable channel that would occasionally broadcast anaglyph 3D movies. I got to watch films like Revenge of the Creature, Gorilla at Large, The Mask, and Dynasty (the 1976 kung-fu flick) in 3D. At the time, they were the most amazing things I’d ever seen on a television screen.

Years later, after I had brief careers in audio engineering and video production, I wanted to make animated music videos for some songs I’d recorded. I stumbled across the software program Anime Studio Pro, which was able to render things stereoscopically. It sounded interesting, so I looked into what it would take to make something in 3D. I discovered that it was much more economical to make and view things in 3D than it had ever been before, so I jumped in and started learning as much as I could.

2. Tell us more about The Simple Carnival.

The Simple Carnival ( www.simplecarnival.com ) is my musical moniker. I make Beach Boys-influenced pop music and experimental easy listening. There’s also quite a bit of Electric Light Orchestra, Todd Rundgren, and Steely Dan influences in what I do. I play most (or all) of the instruments on The Simple Carnival’s recordings, and have released four CDs since 2005.

It’s impossible to pull off The Simple Carnival’s sound in a live performance unless I hire a full band or play along with pre-recorded tracks. So instead of playing live, I try to find interesting ways to release the recordings that I make in my studio.

A few years ago, I’d written the songs that were intended to go on the next Simple Carnival album. However, once I started learning about 3D, the album took a left turn and became a 40-minute 3D music video movie called Smitten 3D.

I’m still working on Smitten 3D as we speak. When it’s done, it’ll be a 3D blu-ray with eleven animated 3D music videos. Currently, four of the videos for Smitten 3D are done and I’m working on the fifth. The four that are done have been screened at film festivals around the world.

3. The video for “A Geek Like Me” was awarded the Ray Zone Award for Achievement in 3-DIY at the LA3D Movie Festival this past December. Why do you think it was so well-received? Continue Reading »

topfun logo(Prague, Melbourne, Las Vegas/ March 29th 2014)

Press release: Topfun launches large 3D and 4K content offering

Topfun Media a.s., the pioneering operator of Topfun Video on Demand in Czech Republic and Slovakia, announced a strategic cooperation with Australian distributor 3D Content Hub Pty. Ltd. Both companies are announcing a large list of new documentaries, short films and award-winning productions for Topfun’s customers ahead of the annual NAB Show in Las Vegas in early April. 3D Content Hub is a leading global distributor with a large content offering of stereoscopic 3D and native 4K titles.

alligator 7

With this new license agreement Topfun is adding more than 50 hours of high quality 3D and 4k content to its user base. Included in the lineup of films made available for the Czech Republic and Slovakia are the popular wildlife films ‘Alligator Kingdom 3D’ and

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The producers and judges of the 3D Theater session at the 2014 Stereoscopic Displays and Applications conference are pleased to announce the winners of the Best of Show prizes. The purpose of each year’s 3D Theatre session is to showcase the wide range of 3D content that is being produced and exhibited around the world. This year’s show contained a broad selection of 42 entries from independent artists through to major studios.

Drum-roll please – the winners are:
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Kings of Baja 4k

Kings of Baja 4k

Epic Documentary Captured in 4K, 5K, and 6K to be presented at the 2014 NAB Show

Press Release: La Paz  / Atlanta / Melbourne (March 13, 2014) 3DigitalVision and Baja Productions announce the completion of their 4K natural history film Kings of Baja. The ambitious film expedition travelled Baja, Mexico’s, 800-mile long peninsula and surrounding waters to explore the most diverse marine ecosystem on the planet. The UHD version of the film has been signed by 3D Content Hub of Australia for global TV distribution.

The film’s story transports viewers from Baja’s punishing desert to the vibrant Sea of Cortez to extinct underwater volcanoes to kelp forests. Each sequence showcases the unique evolutionary adaptations of the flora and megafauna to survive in their slice of the ecosystem. The featured “kings” of the film include sea lions, devilrays, great white sharks, hammerheads, giant mantas, whale sharks, and gray whales.


Captured in 4K, 5K, and 6K resolution over the course of five years, Kings of Baja is a co-production between 3DigitalVision and Baja Productions. The production team logged 600 hours of dive time and 25,000 miles of boat and land travel. The film’s UHD Continue Reading »

Published by Torsten Hoffmann, March 2014.

The first part of this opinionpiece received a lot of views, generated many retweets, was reposted on several other 3D sites and spurred a lively discussion on LinkedIn. I have also received numerous suggestions and direct feedback. Thank you all for that.

Here is the second part of my article in which I try to show that everyone in our industry has contributed to the current 3D crisis.

6. 3D Broadcasters

A. The 3D TV Channels can be accused of being short-sighted. In hindsight we can say that most of the 3D channels were too early. They started broadcasting and investing heavily in (mostly live) content at a time where there were virtually no 3DTVs in the market. Live content is extremely difficult, costly, and commercial suicide because no one ever watches replays of yesterday’s sports game. And two years later, sure enough, the same 3D broadcasters are closing down declaring that “3D is dead”. Both their entries and exits can now be seen as premature. But at least they tried, and spent considerable funds doing so.

3DTV forecasts

3DTV forecasts

B. Even the larger 3D broadcasters backed by big media corporations did not acquire or commission third party content in meaningful volume. Only initially few projects were commissioned to big production companies. In 3D, the learning curve is steep and normally the third and fourth production from a filmmaker turns out really well. Unfortunately, very few producers ever got to this stage. Most independent producers never got a chance to learn and the larger production firms have already moved on (to 4k or ‘back’ to HD). Only a handful of dedicated firms get the majority of 3D production budgets. They produce on the highest level, but this is a small and exclusive club. Hence, the broadcasters missed the opportunity to create a wider production ecosystem.

7. Equipment makers.

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