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 theresults at the box office are up and 3D televisions continue to bedeployed globally. As the access to 3D-enabled devices still remains quite low around the world, the ultimate goal with this partnership is to give a chance for anyone to start enjoying the 3D experience and take advantage of the benefits of 3D today, thereby increasing the possibilities for 3D content producers to make money out of their production and to justify the investments for more stereoscopic 3D content in the future.

“We are proud to work with one of the largest and most prestigious 3Dcontent suppliers”, Andreas Krona, CEO of ColorCode 3-D, says and explainsthat their focus is to help more people get a chance touse the benefits of 3D. “Using our technology, broadcasters andcontent distributors are getting a chance to start using 3D where it makes sense and when the content actually addsvalue.Areas such as school and education as well as home entertainment do still have very limited access to 3D displays and ColorCode 3-D can help bring 3D content to new markets that have not had this option before.

3dcraveOne of the companies’ first joint project is to provide content and viewing technology for US 3-D VoD provider 3D Crave who will launch their services during the first half of 2014. 3D Crave has spent the majority of 2013 researching and testing ways to properly and easily bring a variety of interesting 3D content to homes and mobile devices around the world.

About ColorCode 3-D: ColorCode 3-D has enabled some of the largest events and projects in 3D including the SuperBowl halftime commercials in 2009 for Dreamworks, Intel and PepsiCo, 3D articles for Time Inc. including Time, Sports Illustrated and People magazines, and a 3-D Week on Channel 4 in the UK. A total of over 160 million ColorCode 3-D glasses have been sold. An introduction to ColorCode 3-D can be found at http://colorcode3d.com/C3D_Introduction.pdf Contact ColorCode 3-D at contact@colorcode3d.com or phone +46-705-897787.

About 3D Content Hub: Founded by Torsten Hoffmann the company is based in Australia and is currently one of the largest3dcontentglob_logo suppliers of stereoscopic 3D content to licensees all around the world. More recently the firm has expandedinto 4k (both in 2D and 3D). 3D Content Hub offers several hundred hours of content from 50 producers including many award winning films and counts many of the largest global media corporations as its customers.

About 3D Crave: 3D Crave is a Video-on-Demand service that brings a variety of stereoscopic content such as movies, short films, music videos, photography and more to consumers around the world, with a focus on new and interesting content along with mainstream titles. 3D Crave runs on several internet-connected devices such as 3DTVs, Streaming players and portable devices.





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?

Ray Zone championed the indie spirit. He believed that anyone – regardless of budget – could accomplish good things with 3D if they were creative and resourceful. Ray’s writings and 3-DIY aesthetic are big influences on what I do, so it was an honor to have been recognized in that capacity.


4. I couldn’t agree more. In fact, I started to work with Ray on an indie 3D series before is sudden passing. What a loss for the 3D industry. So how exactly did you produce your video?

I used a rotoscoping technique that was similar to what was used by Disney in the 1950s as well as by Ralph Bakshi throughout his career. I shot live action footage and then traced it frame-by-frame with pencil on paper. This video demonstrates the basic drawing technique:


I cut a piece of plexiglass to be the same size as my laptop screen. I stuck dowel rods and pieces of Velcro to the plexiglass. The dowel rods held the paper in place, while the Velcro kept the plexiglass from sliding around on the laptop.

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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Torsten Hoffmann

 (Torsten Hoffmann, February 2014)

By now, it has become very clear that the 3D industry has not managed to reach mainstream consumers – at least not in the living room. And in its’ current form it never will: Broadcasters are stopping with their 3D transmissions, Producers and Distributors have gone bust, Content Buyers have dropped off the map, and 3D websites and Blogs are struggling or shutting down. In my meetings, I hear many reasons for this demise – and most of the time it includes blaming some of the parties in the ecosystem: The 3D glasses that consumers don’t like to wear, the content that is lacking, the bad quality of 2D to 3D conversions, the price premium for the 3D tickets at the box office, etc. While it is easy to point fingers, I think the time has come to take a deeper look at the situation to better understand exactly what went wrong. Let’s examine all the different parties in the industry and what mistakes were made.

My aim here is to show that everyone in the business has played some part and contributed to the current crisis. Moreover, I want to make sure that we learn from past mistakes as we leave 2013D behind and look towards 2014k. We shouldn’t make the same mistakes in 4k and when we eventually enter the world of auto-stereo 3D.

1. Content Distributors

A. I want to start with my own part of the industry. Distributors like 3D Content Hub (and a handful of specialized 3D distributors as well as larger 2D distributors) have a clearly defined role: Monetizing, to license content rights to content buyers. Unfortunately Continue Reading »


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