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Topic: 3D Coming back to film?
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Frank Angel
Film God
Posts: 5305
From: Brooklyn NY USA
Registered: Dec 1999
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posted 09-05-2009 09:58 PM
Chris, I too saw the Vectograph film and stood there dumbfounded, looking at a piece of film that was, in and of itself 3D with both images imbeded and polarized; you thread it, you've got 3D. All the exibitor needs to do is get a silver screen, or do like some did in the 80s -- just have their old scree spray painted silver. Really, you couldn't ask for a simpler system and one that completely solves booth operational problems. It just can't get mucked up.
If Hollywood wants to get 3D penetration into most of the screens in the country and REALLY make some serious money, the Vectograph system is far and away the answer. That is if they just want to play their 3D product in the highest number of theatres as possible. On the other hand, they really may only be interested in using 3D as the carrot & the stick to get exhibitors to buy into digital. They've got to pick their poison -- either release 3D product in both digital and film so it can make as much $$$ for them as whatever the potential 3D process might have....or, they can continue to only use 3D to get exhibition to move to digital, which in this economy seems to have just stagnated.
Whatever the studios intentions with 3D product, I am sure producers like Cameron would rather show AVATAR in 3D on more screens rather than just 18% of the existing screens that are 3D/digital capable.
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Ramon Lamarca Marques
Expert Film Handler
Posts: 186
From: Edgware, England, UK
Registered: Feb 2006
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posted 09-06-2009 05:25 PM
I am probably the only one who enjoyed the 3-D revival in the 80s. I remember seeing Friday 13 III in 3-D and I still think the opening credits are one of the most fascinating 3-D titles ever, especially because cinemas were big then and the titles had to come a long way to reach my seating position. I do not know, memory is not always reliable but it was a big cinema with a big silver screen and I remember a good 3-D all throughout. Amityville 3-D had more ghosting but wasn’t bad and Spacehunter had very few coming at you effects but I do not recall any ghosting. I did not see Jaws, which apparently was the worst of the lot in terms of 3-D quality. I have not seen, yet, anything in digital 3-D that has improved on my previous experiences, but mind you, I have seen a lot of interlocked new 3-D 35mm prints in London before digital 3-D and so the bar is high.
Well, I suppose the false claim that 3-D was only good in digital and that 3-D was unique to cinema has been fully refuted. 3-D TV is round the corner in many different formats and in the not too long future probably without glasses, so 3-D is not unique to cinema, as for the false claims that before digital all 3-D was the red and the green glasses, well, just go to real IMAX to see how good 3-D already was.
As for Vectograph, I had read about it, is there any of you with contacts at Technicolor who could remind them about it? They could use the dye transfer plant to also produce 2-D film prints for those of us who won’t go to the pictures unless it is to see good old film and I definitely would go out to see a gorgeous dye transfer print on a big and slightly curved screen. I can get digital at home as much as I can, but I can’t get film. I cannot get either a big huge screen, and this is something producers and cinema chain owners seem to forget, even though the success of The Dark Knight in its proper IMAX screenings was quite obvious.
It is really silly this thing studios and cinema chains have about one system becoming the panacea to their financial problems, why they just don’t just use all the tools they have and create good multiplexes with screens well adapted to VistaVision type ratios, screens for scope, screens for 70mm and screens for 3-D, why don’t they instruct audiences on the advantages of customised auditoriums for the perfect viewing conditions for each film. I mean, I am happy to see films in 3-D, in scope, academy ratio, black and white, colour, actually I like the difference and what different directors can do with different tools.
I personally hope there will be a more personalised type of cinema that will bring back some of cinema’s theatrical origins in presentation and grandeur and I hope the different tools available to storytellers will remain available and this includes film, both as an acquiring format and as a presentation format for those of us who appreciate it and enjoy it and if film 3-D comes back I will be up for it.
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Ramon Lamarca Marques
Expert Film Handler
Posts: 186
From: Edgware, England, UK
Registered: Feb 2006
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posted 09-08-2009 05:30 PM
quote: Frank Angel
Ramon, you obviously are a real cinephile. Problem is most in Hollywood are just investors and rarely do art and greed good partners make.
Frank, it saddens me that there is so little interest in showing films as they were originally exhibited. I know this is a complex subject and would generate a thread in itself but when even dedicated institutions like the British Film Institute are going digital to exhibit old films I despair. I understand that the general public may not care about seeing dye transfer prints, or proper ratios, or nitrate prints, 70mm prints or interlocked 35mm 3-D films but I think film history should be preserved as close as possible as to what it was and they cannot say they are preserving film history when they are removing something essential, which is film itself. Classic films should be shown on film.
Anyway, I hope 3-D film will make a comeback in a perfected format, this will prolong film’s life. I wonder what exhibitors who have invested in digital for 3-D will say about it.
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Kevin Fairchild
Expert Film Handler
Posts: 125
From: Kennewick, WA, USA
Registered: Oct 2008
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posted 09-17-2009 01:38 PM
Looks like it is here now.
quote:
Hollywood, Calif.,—Sep 17, 2009 Technicolor Launches Industry’s First “Production to Projection” Solution to Deliver High-quality 3D to More Moviegoers Moviegoers Rank 35mm 3D Identical in Quality to Digital 3D in Warner Bros.’ Final Destination 3D Exit Polls
To address the unprecedented demand for 3D, Thomson (Euronext Paris: 18453; NYSE: TMS), through its Technicolor Business Group, today announced a high-quality, affordable 3D solution that works with existing 35mm projectors. The Technicolor 3D Solution can be deployed immediately to bridge the gap until digital cinema can be more widely rolled out. According to exit polling interviews conducted by independent research firm OTX, moviegoers ranked Technicolor 3D as being comparable to digital 3D cinema technologies, making it the first viable celluloid complement to existing 3D efforts.
A wider platform is needed to accommodate the growing consumer demand for 3D content. With more than a dozen 3D movies and even more special 3D events (concerts, sporting events, etc.) slated for 2010, 3D engagements are a proven complement to 2D at the box office. In fact, 3D engagements outperform 2D by more than 2-to-1 in attendance and even greater in box office. Existing 3D technologies work exclusively with digital projectors, but currently only approximately 6,500 theatre screens in the U.S. have been converted to digital and roughly only 2,500 of those screens will be 3D-capable by year’s end. This means more than 90 percent of theatre screens in the U.S. are not able to provide a 3D experience to moviegoers…until now. Because there is no need for a digital cinema system, which can be costly, Technicolor’s innovation puts 3D within economic reach of all theatre circuits, allowing them to complement 2D engagements and benefit from incremental revenue generated from increased ticket sales and ticket sale surcharges.
“In today’s economic environment, it’s a harsh reality that not every exhibitor has access to the funding required to install digital 3D projection systems. It was the desire to make 3D accessible to the masses that resulted in Technicolor creating a 3D solution to fill the gap between celluloid and digital cinema,” said Frederic Rose, Chairman and CEO of Thomson/Technicolor. “Technicolor 3D equals the quality of digital 3D, and since it’s a fraction of the cost of digital 3D, it allows every exhibitor to benefit from the incremental revenue generated from 3D presentations while giving content creators the widest possible platform on which to share their movies.”
Warner Bros. and AMC, which have teamed with Technicolor for initial consumer testing, are encouraged by moviegoers’ response to the Technicolor 3D Solution. Sixty-five percent of moviegoers polled after viewing Warner Bros.’ box-office success Final Destination 4 in Technicolor 3D said the “overall image quality of the 3D” was “excellent” or “very good”—this compares identically to the results from digital 3D exit polls.
Movie Exit Poll Highlights from Technicolor’s 3D Presentation of Warner Bros.’ Final Destination 4
· Satisfaction of Overall Viewing Experience. Overall satisfaction was similar in Technicolor 3D and digital 3D and both test groups felt “satisfied” to “extremely satisfied” with this experience. The 35mm 3D group registered somewhat higher “extremely satisfied” responses that the digital 3D group.
· 3D Quality Compared to Last 3D Movie Experience. Comparing this experience to the last movie they saw in 3D, moviegoers who watched in 35mm 3D were near-identically inclined to perceive the 3D quality as “excellent” or “very good” as those who watched in digital 3D—comparisions to their last 3D experience were at parity.
· Movie Ratings & Recommendation. Moviegoers who watched in Technicolor 3D were more inclined to rate the film itself “excellent” and to “definitely” recommend it to friends versus those who watched in digital 3D.
How the Technicolor 3D Solution Works
The Technicolor 3D Solution employs a propriety “production to projection” system that leverages 35mm (film) projectors already in use by 90 percent of U.S. theatres today to deliver high-quality 3D content to moviegoers. A patented lens system assembles the left and right eye images as the film runs through the projector and delivers a 3D ready image onto a silver theatre screen. The solution works with circular polarized glasses—identical to the ones used for existing digital 3D cinema—to “translate” the film’s content into an image that is perceived by the viewer as being three dimensional. The silver screen can be used for the projection of both Technicolor 3D as well as digital 3D content. The Technicolor 3D Solution can be installed nearly immediately. No build-out or significant modifications of the projection booth are required.
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