Issue link: http://digital.copcomm.com/i/49492
OUTLOOK STEREO defined and takes X amount of time and that is going to be reduced by faster computers and more efficiency in the pipeline." OUTLOOK FOR 2012: "The technology itself will carry the burden of processing what constitutes the right stereo look for a series so you can concentrate on the acquisition part and not get too bogged down in the technology of the formula. "We are introducing smart 3D, smart rigs, smart lenses. When we first started on Avatar, we interpreted the focal lens, distance to sub- ject, we came up with the formula that says this is good stereo, and that is what Jim would see when he walked up to the monitor. Now we have technology with a USB stick where you can plug that in and get the 'Avatar look' for stereo." BARRY SANDREW Founder Legend3D www.legend3d.com San Diego The US Open is one of the many sporting events shot in stereo by Cameron Pace Group. growth comes better development, more robust systems, smarter systems, and that effort from a manufacturing standpoint is a significant one. It costs money and it's subject to change based on new develop- ments of the product." OPPORTUNITIES: "We have to deliver everything that was delivered before in 2D and use the opportunity of 3D, whether it's a more engaging look or a different camera angle that might pay off bet- ter than it would have in 2D. That is really where the industry, from a business sector, will be successful. "So if we accomplish the 2D foundation and start working on the cost platform so that it equates to a smaller delta between 2D and 3D that's managed with the ad revenue, now we are into the exciting part. What opportunities can we bring to the table? Is it different looks, coverage, different entertainment experiences that weren't explored on 2D because it didn't convey the same strength of a message? THREATS: "We assume that 3D can be elevated by the very nature that it's 3D, but it can't. It still relies on all the fundamental tools. So people bypass the fundamental tools — good storytelling, good, composition, good lighting — and they think if it has the 3D sticker on it, everyone will run out and watch it. "We are challenged by people who think the time has come for 3D and dictate to the production how it should be done — this changes the whole methodology of how the DP and director have worked in the past. That's a threat because 3D doesn't have the strength… it can't make something that isn't good better. I don't care how educated that person is in the 3D, the medium on its own isn't that powerful. The medium combined with the ingredients of filmmaking is a whole differ- ent presentation to the public. Instead of gravitating to a 3D expert, 3D should be driven by filmmakers themselves, and the DP on the project. "The challenge is also getting the cost down; we have to have less personnel on set, whether it's broadcast or a feature — it's an added cost to production. And in the post world, it can't be something we spend a ton of time on because nobody budgets for that kind of time. CPG has some IP and patented techniques where we pivot the cam- era on nodal point. To a post facility when you are pivoting that second camera on the nodal point it keeps the whole world in the right rela- tionship with the other camera. I don't want to hear, 'Oh my god, we have to do so much work in 3D. We want to hear that the process is 26 Post • December 2011 www.postmagazine.com Legend3D, a digital media and VFX company, focuses on 3D conver- sions for film. Founded in 2001, Legend3D employs patented 2D-to-3D image conversion technologies. Recent work includes Hugo, The Smurfs and The Green Hornet. STRENGTHS: "The release of James Cameron's Avatar changed the way Hollywood produces feature films. Studios are reporting record-breaking box office sales, and six of the 10 highest grossing movies of all time are 3D feature films released since and including Avatar. Heightened enthusiasm by theater-goers for 3D demonstrates a willingness to pay premium prices. "More than 30,000 3D theaters will open internationally this year. 3D boasts signs of becoming the standard for movie production as well as television broadcasting and Internet streaming. Today the consumer electronics industry is focused on holiday sales of 3DTVs, along with other 3D-inspired distribution platforms. Studios are producing 3D Blu- ray discs for their latest releases. Those titles will be competing for shelf space and vying for bundling opportunities with TV manufacturers. The rise of channels like Hulu Plus, Netflix, Blockbuster, Amazon, etc. provide greater bandwidth for streaming media as studios search for alternative distribution channels. From all indicators, it appears that the technologi- cal and creative Zeitgeist for 3D is upon us and we are looking at the future of the entertainment industry as one with three dimensions." WEAKNESSES: "Weakness in the adoption of 3D is more per- ceived than real, though a few factors have clearly hindered 3D from becoming ubiquitous: industry bias fueling misinformation, poor-quality production on some 3D conversions and consumer uncertainty regarding product standards. A degree of uncertainty in the industry raised by some in the media has left the studios somewhat conflicted over 3D. However, how box office data is interpreted often reflects the agenda one wishes to propound, and as with any trend in its nascent stage, the onus is on informed players in the industry to educate the public regarding the viability of 3D." OPPORTUNITIES: "Today, billions of dollars are funding the promotion and adoption of 3D. Massive budgets earmarked by exhibi- tors and consumer electronics manufacturers are a reflection of strong confidence in the medium. There is a new generation of filmmakers leveraging 3D continued on page 45