Digital Stereoscopy is the 350-page bible of modern 3D technologies in which students, amateur moviemakers, and professional stereographers will find a clear description of all facets of the stereoscopic business as well as detailed information on the 3D-image production, distribution, and presentation workflow. Continue Reading »
3D Content Hub has announced that its 3D business is developing better than expected with annual sales of 3D titles achieved in 10 weeks.
Australian-German distribution firm 3D Content Hub has announced that its 3D business is developing better than expected. Its film library of stereoscopic titles grew by almost 100% and sales targets for the entire year 2013 were reached after 10 weeks. Torsten Hoffmann, founder and CEO, attributes the success to a renewed interest from 3D broadcasters, especially in Asia and a growing appetite from 3D VOD companies for independently produced 3D films. “It seems that the traditional windowing of rights and the territorial restrictions that some of the major 3D feature films are bound by is a real chance for smaller filmmakers. The demand for new 3D content remains high”. Continue Reading »
Oz the Great and the Powerful by Dr Miriam Ross
The first striking aspect of Oz the Great and the Powerful (2013) is that its opening images are in both black and white and the 4:3 aspect ratio that was common to Classical Hollywood cinema but rarely seen nowadays. Although anyone who has seen the trailers for this film will know to expect the black and white 4:3, there is still the uncanny feeling that the image is curtailed. This is made all the more obvious after the opening credits when we see the circus where central character Oscar/Oz is based. A fire-eater blows a large arc of flames across the border of the frame, which also comes slightly out towards the audience in stereoscopic depth. In a similar action, a dove flutters beyond the confines of the image. The overt and ostentatious display of how the film can play with its own borders recalls early cinema that operated as an attraction concerned with demonstrating its magical trickery. This delight in optical illusions is made clear within the film through the depiction of cinematic toys such as the zoetrope and a (albeit improbable) modified praxinoscope. The link to early cinema is similar to the one made in Martin Scorsese’s Hugo (2011) when the spectacular imaging of stereoscopic film was used to revitalise knowledge of film pioneer Georges Méliès’ magic effects in early French cinema. As a truly US production, Oz the Great and the Powerful, makes reference not to Méliès but to the American cinema and technology inventor Thomas Edison. Oscar speaks of his clear admiration for the inventor and the final battle in the film depends upon mechanical trickery inspired by the inventor.
Today we interview Peter Hamilton, editor and publisher of e-newsletter DocumentaryTelevision.com, whom we (finally!) had the pleasure of meeting in person at the Australian International Documentary Conference (AIDC) in Adelaide last week. He is a well-known expert in the global non-fiction market and is a consultant to many of the top brands in international television. At this year’s AIDC he presented a workshop with Torsten Hoffmann on Giant Screen and 3D as viable opportunities for documentary filmmakers. In this exclusive interview with 3D Content Hub, Peter shares his insights on this unique niche market:
Sure. Since the late 1990s the number of global IMAX screens has risen from 50 to 350. The average screen size is now at about 3,000 square feet with the largest theatres featuring a massive 5,000 sqf (61 x 82 feet). Obviously 3D has always been a very important factor. What many find surprising is the pixels that the IMAX and other Giant Screen systems are capable of displaying. HD has 2 million pixels. 4k Cinema is at almost 9 million pixels. While 35mm film can be up to 20 million pixels. IMAX still trumps with 70 million pixels, almost 10 times more than 4k.
From 3D Focus’ article about ‘virtual reality machines‘
We’ve covered quite a bit on the 3D Industry in Asia on our website. But what about the rest of the world? Is 3D really going global? Today we take a look at one of South America’s fastest and biggest emerging markets: Brazil – the land of the Amazon, samba, soccer & carnival; coincidentally or not, all of which would make for some spectacular viewing in 3D.
Some people have asked me what the S3D market is like in Brazil. My immediate reaction is to not respond as this market has caused me much grief and discouragement. But in order to understand my reaction, I need to first explain my reasons.
Since 2003 I’ve been working with S3D as a researcher within the university where I work. Unlike other scientists who are concerned with hardware and software, my interest is in S3D content, particularly documentaries. To make a documentary in S3D, I needed equipment, rigs and software – so in 2006 I set up a laboratory to support documentary filmmaking and finally in 2009 I completed the first documentary: “The Lake 3D”