The 3D Cinema Ad Opportunity

http://www.digitalcinemareport.com/node/1972

 

Submitted by Nick Dager on Thu, 09/30/2010 - 11:41.

 

The first annual 3D Experience was held in New York last month and, as billed by its promoters, an all-day executive forum offered “the opportunity to learn what’s next in the world of 3D through presentations, networking opportunities and technical demonstrations.” By and large the event delivered and, for exhibitors and filmmakers alike, one thing seems clear: 3D advertising in movie theatres is a tremendous market just waiting to be served.

The venue was an AMC Theatre in New York’s Time Square and the presentations were shown with Sony 4K digital projection on what, to my eyes, appeared to be a 40-foot or larger screen.

That 3D advertising in movie theatres is a huge opportunity was certainly the case made during the presentation by Ken Venturi, chief creative officer and executive vice president interactive media for National CineMedia. He called his presentation “An Industry’s Journey into a New Dimension.”

Venturi screened 3D commercials from Samsung, Scion, New Balance, Lexus, Sprint and Coke, all of which have run in theatres. Some were shot in 3D; a few were converted from 2D to 3D. To my eyes, and apparently to most everyone else in the audience, the commercials were all impressive.

That reaction would not have surprised Venturi. The National CineMedia network now numbers almost 18,000 theatres; of those, 1,900 are currently 3D-capable. The size of their network has given NCM the opportunity to test 3D with a broad demographic and the results of their focus group studies are revealing.

According to Venturi, cinema advertising has greater impact when it’s in 3D. Focus groups have demonstrated a 40-percent increase in recall when a commercial is 3D versus 2D, he said adding that focus groups also describe the companies that advertise in 3D commercials as “more fun” and “innovative.”

Venturi said that in movie theatres the glasses suddenly become a plus because they automatically put the viewer in a viewing mode and there are fewer distractions to divert attention.

Venturi cautioned that this higher level of attention does not come automatically and is absolutely no signal to present bad 3D. He said the audience of 3D commercials in theatres is “highly judgmental” and, he added, “Bad 3D can have a negative impact. But good 3D has its place in cinema advertising.”

“Texture, by definition, is 3D,” he said, and the medium is ideal for conveying design and form. This alone opens the door for a wide range of market segments including fabrics and food. “We did a 3D test of an Oreo cookie,” he said, “and it was pretty spectacular.”

According to Venturi, 3D production costs are falling and, given the impact, are well worth consideration by major companies and the advertising agencies and film production companies that support them.

In March 2010, the typical cost for a thirty-second 3D commercial was roughly $100, 000. At that time, he said, there were some 4,000 3D screens in nationwide, 1,500 in the NCM network and those numbers contributed to the reluctance by major brands and the creative community to produce 3D spots in big numbers. But, Venturi said, by 2012 it is estimated that the costs will drop to between $50,000 and $75,000 for a thirty second spot and by that time there could be as many as 12,000 3D screens.

Barbara Lippert, contributing editor of Adweek, moderated a related panel discussion later in the day entitled “Getting Ahead of 3D for Advertising Professionals.”

Michelle Martell, COO of Cinedigm, echoed Venturi’s enthusiasm saying that, based on what she has seen from the exhibitors she works with, 3D cinema advertising is “delivering an experience that makes people say ‘I want more’.” And it was clear from the people from the production companies on that same panel that the creativity community is eager to make commercials in 3D.

Lippert, who is both well respected and well connected in the ad world, expressed caution. She acknowledged that virtually every ad agency is considering 3D but right now, she said, “The jury is out.”

Introducing IndieFilm3D

I’m pleased to announce that we have launched a second website, IndieFilm3D. Digital Cinema Report will continue with it’s almost nine-year mission of keeping people up to date on what is happening in exhibition around the world.

Meanwhile, as the above column shows there is a lot of excitement in the film and television creativity community about 3D and as the name of the new site suggests our goal with IndieFilm 3D is to develop an online news source available 24/7 that provides an in-depth and informed global perspective on all of the incredible business and technology changes that are currently taking place in professional stereoscopic 3D motion picture production.

Every phase of the way that movies and other kinds of content are made is undergoing a total transformation from 2D to stereoscopic 3D. We believe that the key to ensuring the stereoscopic 3D future is shared information so that everyone in the community understands the demands of producing quality work. We are committed helping filmmakers produce high quality stereoscopic 3D.

I encourage you to visit the new website and let us know what you think. Here’s the link: http://www.indiefilm3d.com.