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Author
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Topic: 3D Coming back to film?
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Julio Roberto
Jedi Master Film Handler
Posts: 938
From: Madrid, Madrid, Spain
Registered: Oct 2008
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posted 01-01-2010 09:55 AM
Knowing how the manufacturing of 35mm projection lenses is a "dead market" (i.e. after current stock is depleted, it's doubtful a lot of those lenses will be needed in the future as digital starts, at some point, replacing film), it shouldn't be hard for Technicolor to get Isco or Schneider to OEM manufacture a run of "top" quality lenses (to be cut and splitted in two) for them for relatively cheap.
Technicolor pbby isn't so much in this for the profit of the lenses' sales itself but for the added services (print-out to over/under, film duplication/distribution, etc). They can pbbly afford to sell the lenses at little-over-cost as to deliver a modern (couple of stacked together) lenses to theaters for not-a-whole-lot-of-$$$$.
Indeed many mirror boxes could pbbly display the system. Not sure if an agreement with Technicolor would stop distributors offering over/under prints to theaters that have not purchased Tech3D. You don't even need to use circular polarizers if you don't want with those mirror boxes. Just keep using linear+linear glasses and you get a tiny little better light, a little better ghost performance and a little cheaper filters/glasses.
Theoretically, a split lense manufactured to the specifics of each theatre could provide top optical performance, pbby better than a mirror box or a prismatic adapter. Early burning of the polarizers is a concern, but FAR less than it was 30 years ago (there are polarizers used in LCD and Lcos projectors that can take more than enough flux). Still, a method of easy replacement should be included in Tech3D so that once a year or so a new fresh set can be put in to guarantee performance.
I agree with MI being way overpriced. They are silly not to dramatically lower their price to lure the market into adopting them massively. They can get a constant stream of revenue through the permanent sales of glasses and spare filters/parts. For that price, thinking about dual-projection with passive filters looks more attractive than it otherwise would be.
The only player that "knows" what they are doing is RealD. Offer "cheap-almost-free" 3D and make the money selling millions and millions of glasses through the years and years the thing keeps working.
quote: Steve Guttag
color wheel (seemingly expensive to make or others would do it cheaper) and the glasses...again...nobody seems to be making them cheaper).
I don't think you can make compatible systems as Infitec pbbly has the patent territory covered for the use of light bandwidth division for 3D applications in this way. But nothing prevents you from manufacturing active plate retarders (zscreens) or rotating polarizing filters (Master Image). Or polarizing glasses, of course. Stereographics can't enforce stuff since Tektronics had prior art in the field of active LC based shutters (active polarization direction switching), even for stereoscopic applications.
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Julio Roberto
Jedi Master Film Handler
Posts: 938
From: Madrid, Madrid, Spain
Registered: Oct 2008
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posted 01-01-2010 04:57 PM
EVERYTHING is (or can be) made in Asia nowadays, of course. And I mean EVERYTHING, even those things that were "top secret, high tech" not long ago. Maybe it is NOT being made right now, but it CAN be made easily and cheaply for sure.
I was giving an example of ISCO and Schneider IF they were smart about it. If they are going to keep their high horses and not OEM good lenses for cheap (w/o branding), then they'll be out of the picture sooner rather than later.
Of course that very top quality lenses are being made in Asia at prices that are a FRACTION of what americans or europeans wanted for them with either the same, near the same, or superior quality, depending on each case.
Look at the prime lenses for the digital camera used to shoot most pictures today. You can buy TEN of them for the price Cooke or other high-horse players wanted for one. And the quality is MEASURED over and over independently by production/rental houses/DP's/aficionados and the numbers are clear. They are almost as good/just as good/even better depending on each individual case.
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Julio Roberto
Jedi Master Film Handler
Posts: 938
From: Madrid, Madrid, Spain
Registered: Oct 2008
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posted 01-04-2010 10:13 AM
quote: Scott Hicks
.... With a $0.50 per per 3D ticket fee over a 5 year contract, it makes D3D, MI, X3D, and even T3D seem cheap by comparison!
One of my clients just spoke of writing a rather huge commission check to RealD for Avatar so far. He will probably hit $20k in commissions in the first year. Do the math
Let me do the math. $20k x 5 years = $100.000
Plus RealD seems to be charging studios for the glasses as well, rumored $0.65 ... so another $115.000 for that theatre we are talking about. And that's just in 5 years.
Let's weight the (hypothetical) $10k Tech3D system against a $100k digital makeover with Silver Screen and RealD ....
Well. Let's not. Perhaps theatres will start to realize that even dual-projection is not a bad option at all.
And remember, money that doesn't stay with the distributor/producer/exhibitor/consumables-maintenance but goes to a third party like RealD or a digital "integrator", is paid by the industry one way or another, through increased cuts, higher ticket prices that drives customers to less concession spending, etc.
Avatar can GROSS a billion dollars, but if $1.15 per head has to go to RealD ... the producers are going to need to gross even more ...
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