Friday, February 6, 2009

Cineworld agrees to double Digital Estate to capitalise on major 3D film releases this year

http://www.digitalcinemainfo.com/cineworld_02_02_09.php

February 2, 2009

Source: Cineworld

Cineworld plc is delighted to announce today that it has signed an agreement with NEC, to double the number of digital screens across its estate.

The deal is to acquire 74 further digital projectors at a total cost of circa £4m which includes the equipment and installation costs. By April 2009 Cineworld plans to have a total of 148 digital screens fitted and operational across its entire estate, providing 1 in 5 screens with digital capability.

In addition, this transaction will create the largest 3D estate of any cinema chain in the UK. Cineworld will use technology from RealD, the world leaders in 3D, in 144 of its digital screens enabling it to show 3D movies to 40,000 customers at any one time.

During 2009 thirteen films are scheduled for release in 3D format including: Walt Disney’s, Bolt and Toy Story 3D; DreamWorks Animation Monsters Vs Aliens, a Paramount Pictures release; 20th Century Fox’s Ice Age 3: Dawn of the Dinosaurs and James Cameron’s Avatar; Sony’s Cloudy with a Chance of Meatballs and Universal’s Coraline.

Steve Wiener, CEO of Cineworld Group plc, said, “Cineworld is proud to be the UK’s leading digital operator and the deal with NEC further reinforces our market leading position. We strive to offer our customers the best possible cinematic experience and this deal means we can offer them the choice of digital programming across the UK. The timing of this deal enables us to take full advantage of the busy 3D film slate this year and I am pleased that Cineworld will be able to provide this latest technological advance to more of its customers.”

Cineworld envisages that the next stage of its rollout of digital screens in the existing estate will start once agreement is reached with the film studios on the financial terms of such a move.

 

XPAND Launches the "X101 Series" The New Generation in 3D Glasses Technology

 

http://today3d.blogspot.com/


Los Angeles, California - 4 February 2009 – XpanD, the international authority in 3D cinemas and technology platforms, today announced the official roll-out of its newest model of 3D glasses – the X101 Series – introducing them as the most sophisticated technology in today’s marketplace for viewing stereoscopic 3D digital cinema.


XpanD's new X101 Series of 3D active glasses represent several months of comprehensive R&D, engineering and design to equip them with state-of-the-art technical features and a streamlined, stylish appearance to optimize guest experience, comfort and to ease exhibitor operations. The core 3D viewing technology is the company’s patented “pi-cell” system, in which a specialized, fast-switching liquid crystal cell provides rapid, stereoscopic shutter action to deliver alternate right- and left-eye images.


New and upgraded features of the redesign were added with both exhibitors and their customers in mind. They include rugged construction with built-in flex points and replaceable batteries that extend product life, a lightweight and stylish form factor that is comfortable even when worn over eyeglasses, a modular design to accommodate both adults and children, environmentally friendly diodes, and a power-saving auto on/off mechanism. The light-efficient technology delivers the brightest possible picture and saves projector lamp power. The glasses also feature long-range IR signal activation, compatibility with DLP cinema chips, and a choice of two elective anti-theft systems.


“Now is a time of dramatic growth in 3D digital exhibition, and our company is fully committed to providing exhibitors with a complete line of top-quality 3D cinema products that are both robust and well priced,” says XpanD CEO Maria Costeira. “Technology never stands still and the new X101 Series active glasses are designed to be better, brighter, less costly and easier to maintain. Our dedication and constant efforts to improve XpanD's offerings mean that everybody wins: Theater patrons have a fulfilling experience and make repeat visits, and operators maximize their returns.”


The product line now also includes an optional, rolling trolley for storing, distributing and collecting the glasses before and after screenings. Each easy-load trolley holds about 250 sets of glasses. Additional products to support this new rollout of active glasses will be announced in the coming months as the company continues to develop a solid line of applications to make the 3D experience the best on the market.


About XpanD:
Industry veterans from theatrical exhibition, film production & distribution, specialty film formats and digital technologies created XpanD. This broad range of professionals is a diversely experienced team driving the force in creating the absolute digital 3D cinema experience. XpanD offers several unique 3D theater solutions and has partnered with hundreds of exhibitors, who continue to enjoy substantial returns from XpanD's high-end technology, ongoing operations and creative marketing strategies.


X6D Limited, marketing its products under the brand XpanD, has subsidiaries in the United States with a production facility in Portland, Oregon (XpanD Inc.), Nevada and in Los Angeles, California (X6D USA Inc.), which includes a technology division specializing in design, engineering and installation of fully-integrated, DCI compliant theater systems for the institutional and attractions market, which incorporates audio/visual displays and show controls, digital signage and a host of other interactive and immersive technology applications to create multi-use theater facilities.

Thursday, February 5, 2009

Christie Launches Industry-First Technological Breakthrough for 3D

http://www.dcinematoday.com/dc/pr.aspx?newsID=1227

 

Cypress, Ca—Oct 13, 2008

 

Christie’s Brilliant3D(tm) technology delivers increased brightness, lower operating cost, single lens solution for 3D screenings

Christie, a leader in digital cinema projection, is pleased to introduce its Brilliant3D technology that enables 3D content to be projected in full 2K resolution for digital cinema projectors utilizing 1.2” DMD chips from Texas Instruments. A first for the industry, this new technology will be available exclusively on all Christie digital cinema projectors and will be launched at ShowEast beginning October 13 in Orlando, FL. Following the successful demonstrations with RealD at IBC in Amsterdam last month, Christie’s new technology provides 33% more brightness for 3D content and uses only a single lens system.
 
“We’re very excited about this technological development from Christie.  This advancement combined with our RealD XL system enhances the 3D experience tremendously.  Together, we can fill screens up to 75ft in width with true triple-flash capable technology, making 3D films even brighter and clearer,” noted Joseph Peixoto, president of worldwide cinema, RealD.
 
Craig Sholder, vice-president of Christie’s Entertainment Solutions stated, “With more than 15 new movies slated for 3D release over the next 18 months, Christie’s new Brilliant3D will enable exhibitors to project 3D movies onto the largest screens—while reducing both lamp and electricity expenses.  Christie engineers initiated development of this technology so that audiences would have the most compelling 3D experience.” 
 
Christie Brilliant3D will be available on the world’s brightest 2K DLP Cinema® projectors, the Christie CP2000-SB and Christie CP2000-XB, as well as on the Christie CP2000-ZX.  Christie’s CP2000-M digital cinema projector, based on the .98” DMD chip, will also feature Christie Brilliant3D technology. With this new technology, Christie now offers 3D in full 2K resolution at brightness levels not previously seen before in theatres.
 
Sholder added, “We’ve enabled our full suite of digital cinema projectors with Christie technology.  And, our flagship Christie CP2000-SB will offer double the brightness for 3D projection than any other competitive product on the market. We’re thrilled to offer a much more viable solution to the industry for projecting 3D movies on medium and large screens.  Christie remains at the forefront of the digital cinema revolution with 3D solutions for every exhibitor on any size screen.”

In addition, Christie is also announcing a new suite of variable prime zoom lenses that enable a convenient and cost-effective, single lens solution for 2D and 3D content regardless of format, keeping operating costs down.  These lenses and new projector solutions will be available for the release of the 3D blockbusters scheduled for the upcoming holiday season.

 

XpanD X101 Series Features

http://www.xpandcinema.com/glasses/

Replaceable Batteries
Each battery averages 300 hours of battery life. The batteries can be easily replaced by anyone and cost less than $1 per unit.

Durability
XpanD X101 Series active glasses are rugged and flexible. The glasses were designed with flex points, which extend the lifetime of the glasses. In Lab testing, the X101 glasses worked over 2000 shows, providing unbeatable costs of less than 2.5c per show.

Encrypted Communication
For better communication and to eliminate cross talk, XpanD's X101 Series glasses operate with an encrypted IR signal.

Automatic "ON/OFF"
To ensure operation of the glasses at show time, to reduce theater operational interface and to better manage battery life, the X101 Series glasses turn "ON" and "OFF" automatically.

No Silver Screen
Standard white screen can be used for both 2D and 3D, thus eliminating unwanted hot spots created by 2D presentations on silver screens. With its focused light reflection back to the audience, a silver screen offers a narrower viewing angle as opposed to the lower gain matte white screen which provides a much wider viewing angle, whereby it offers the same 3D experience to EVERY seat in the auditorium.

The Brightest 3D Solution
3D requires as much light as possible. XpanD X101 Series features the fastest shutter technology for the brightest image. The X101 Series efficiency rating has been increased to over 15%. Light efficiency is at 17%. Maximal screen size 20 meters

Longer Lamp Life
Due to X101 Series' increased light efficiency DC projectors can be set to their normal lamp settings as opposed to increased lamp output settings which is required by others. This increases lamp life by at least 80%.

Extended IR Range
Extended IR range supporting the largest Cinemas in the world.

Radio Communication
To further eliminate potential crosstalk, XpanD X101 Series is designed to enable Radio communication between the glasses and emitters in future models.

The Highest Reliability in 3D Market
XpanD X101 Series components are built to work in extreme conditions, further endorsing XpanD's long standing achievement of having the highest 3D reliability.

Optimal 3D Experience
XpanD X101 Series prevents "IR black holes" in the theater by utilizing an optimal diode layout -- making sure 100% of the viewers will have optimal 3D experience, regardless of their seat position.

100% DLP
XpanD X101 Series is optimized to work with both 0.98 inch and 1.2 inch DLP Cinema chips.

Environmentally Conscious - "Eco-Friendly"
The X101 Series glasses can be used longer than ever and the X101 Series emitters are using environmental friendly diodes endorsing XpanD's continued commitment for "green technologies."

Even Faster installation
With over a dozen 3D movies in 2009 and another 25 targeted in 2010, programming flexibly is critical. Moving the systems from a large auditorium to a smaller auditorium and vice versa is a daily practice that optimize profits. Therefore, to continue its commitment to reduce initial setup time, reduce theater staffing interaction, and long-term maintenance, XpanD X101 Series' has been designed with unique features to meet those requirements.

RFID System
XpanD X101 Series includes an optional RFID system for better theft control, inventory control and maintenance. The RFID software and hardware is a third-party system and must be purchased separately. Glasses that do not include RFID have standard EAS anti-theft tags installed.

Ease of Distribution and Collection
To continue its commitment and to reduce the need for additional theater staffing and monitoring, XpanD has developed and made available (optional), a well designed carrying cart for efficient distribution, collection and storage.

Cool and Modular
XpanD X101 Series is simply COOL. Its modular design provides options in child size and regular size. Furthermore, its modular design allows for marketing and sponsorship opportunities by the exhibitor to supplement overall gross income.

Lifetime Warranty
The components of the XpanD X101 Series are tested for durability, usability and accelerated stress. They carry a lifetime warranty for all head end hardware. Glasses do not carry a lifetime warranty.

Other Information

Cleaning
Sealed, fully washable. Wash/dry temperature not to exceed +50° C (+122° F)

If cleaning by hand you can use a standard cleaning agent that is not ammonia based. Windex has an anti-bacterial cleaning product that works quite well. The glasses can also be washed under a faucet using liquid soap and warm water. When cleaning by hand you should dry the lenses using a lint free, soft, drying cloth. (DO NOT USE PAPER TOWELS AS THEY CAN SCRATCH THE LENS)

 

 

 

XPAND Launches the "X101 Series" The New Generation in 3D Glasses Technology

http://today3d.blogspot.com/


Los Angeles, California - 4 February 2009 – XpanD, the international authority in 3D cinemas and technology platforms, today announced the official roll-out of its newest model of 3D glasses – the X101 Series – introducing them as the most sophisticated technology in today’s marketplace for viewing stereoscopic 3D digital cinema.


XpanD's new X101 Series of 3D active glasses represent several months of comprehensive R&D, engineering and design to equip them with state-of-the-art technical features and a streamlined, stylish appearance to optimize guest experience, comfort and to ease exhibitor operations. The core 3D viewing technology is the company’s patented “pi-cell” system, in which a specialized, fast-switching liquid crystal cell provides rapid, stereoscopic shutter action to deliver alternate right- and left-eye images.


New and upgraded features of the redesign were added with both exhibitors and their customers in mind. They include rugged construction with built-in flex points and replaceable batteries that extend product life, a lightweight and stylish form factor that is comfortable even when worn over eyeglasses, a modular design to accommodate both adults and children, environmentally friendly diodes, and a power-saving auto on/off mechanism. The light-efficient technology delivers the brightest possible picture and saves projector lamp power. The glasses also feature long-range IR signal activation, compatibility with DLP cinema chips, and a choice of two elective anti-theft systems.


“Now is a time of dramatic growth in 3D digital exhibition, and our company is fully committed to providing exhibitors with a complete line of top-quality 3D cinema products that are both robust and well priced,” says XpanD CEO Maria Costeira. “Technology never stands still and the new X101 Series active glasses are designed to be better, brighter, less costly and easier to maintain. Our dedication and constant efforts to improve XpanD's offerings mean that everybody wins: Theater patrons have a fulfilling experience and make repeat visits, and operators maximize their returns.”


The product line now also includes an optional, rolling trolley for storing, distributing and collecting the glasses before and after screenings. Each easy-load trolley holds about 250 sets of glasses. Additional products to support this new rollout of active glasses will be announced in the coming months as the company continues to develop a solid line of applications to make the 3D experience the best on the market.


About XpanD:
Industry veterans from theatrical exhibition, film production & distribution, specialty film formats and digital technologies created XpanD. This broad range of professionals is a diversely experienced team driving the force in creating the absolute digital 3D cinema experience. XpanD offers several unique 3D theater solutions and has partnered with hundreds of exhibitors, who continue to enjoy substantial returns from XpanD's high-end technology, ongoing operations and creative marketing strategies.


X6D Limited, marketing its products under the brand XpanD, has subsidiaries in the United States with a production facility in Portland, Oregon (XpanD Inc.), Nevada and in Los Angeles, California (X6D USA Inc.), which includes a technology division specializing in design, engineering and installation of fully-integrated, DCI compliant theater systems for the institutional and attractions market, which incorporates audio/visual displays and show controls, digital signage and a host of other interactive and immersive technology applications to create multi-use theater facilities.

The Dutch Go Digital With Arts Alliance

http://celluloidjunkie.com/2009/02/03/the-dutch-go-digital-with-arts-alliance/

 

Posted by J. Sperling Reich | February 3, 2009 12:30 am

 

These days, with the global financial meltdown in full swing, any announcement about a rollout of digital cinema installations is big news.  Just ask Arts Alliance Media.  The U.K. based integrator had a press release picked up by several trade publications that announced an agreement to install and support d-cinema equipment in 20 independently run theatres in the Netherlands.  AAM negotiated the deal with Amsterdam Booking Company, a film buying firm which represents the theatres.

 

While the agreement only covers 68 screens, or 1o% of the screens in the Netherlands, it's notable for being the first rollout of digital cinema kit in Holland to be funded by virtual print fees provided by the major Hollywood studios.  Until now, d-cinema installations in the Netherlands have been one-offs to facilitate 3D releases.  This fact didn't escape ABC's owner Paul Visser when he provided a quote for the press release about the deal:

 

"We see clearly what the future of cinema is going to be – digital, 3-D and live events. AAM is the best partner to make that happen and enable us to be the first widespread movers in the Netherlands."

 

According to Howard Kiedaisch, AAM's chief executive officer, the agreement with ABC is important because it proves that any theatre can make the conversion to digital regardless of size.  He said, ". . .having ABC on board proves that our program works for independents as well as big chains."

 

Over the last year there has been a lot of talk throughout industry circles over whether the VPF model would actually work for European exhibitors, especially given the differences from the United States in release patterns, length of run and severe market segmentation when it comes to box office revenue.  The industry will certainly keep on eye on whether the deal winds up working as planned for all parties involved. . . and that includes the studios.

 

The announcement also allows AAM to quiet the back room whisperings that the integrator was short of money to rollout digital cinema installations.  In the latter half of 2008, when AAM began converting France's 400-screen Circuit George Raymond to digital and the world tightened it's economic belt as banks stopped lending, there were rumors the integrator was having trouble coming up with the financing.  Of course, that was an easy rumor to start in the fourth quarter of 2008 given that nobody in any industry seemed to be able to find money.  Either way, rumor or truth, it doesn't seem to matter now.  AAM managed to raise EUR €43 million in December of last year and they appear to be quite serious about getting the d-cinema gear rolled out for ABC post haste.

 

Before the ink could dry on their press release AAM began installing digital cinema equipment in cities such as Heerlen, Schagen, Spijkenisse, Venray, Weert and Zutphen.  (For a tongue twisting exercise native English speakers should speak those names aloud five consecutive  times). AAM is just in time for the February 11th 3D release of "Bolt" and no doubt is feeling the pressure of the upwards of 9 other 3D releases which will hit theatres throughout 2009.

 

Meanwhile, AAM is still in the middle of rollout out the remainder of CGR Cinemas and is presently running over 420 d-cinema installations throughout Europe including in the UK,France, Spain and Norway.

Tuesday, February 3, 2009

Imax hopes Harry Potter and Star Trek can beat the recession

http://www.nzherald.co.nz/movies/news/article.cfm?c_id=200&objectid=10554611
4:00AM Monday Feb 02, 2009

The chief executive of megascreen producer Imax said he was confident the movie business would remain fairly recession-proof and that his company would benefit this year from the release of the new Star Trek film and the latest Harry Potter epic.

Richard Gelfond said the Canadian company planned to release as many as 10 films in Imax theatres this year - up from seven last year.

They include the big-screen adaptation of Alan Moore's acclaimed graphic novel The Watchmen, a tale about ex-superheroes in an alternative America; Avatar, James Cameron's first feature film since the Oscar-winning Titanic; and Lost creator J.J. Abrams' much anticipated reboot of the legendary Star Trek franchise, focusing on the exploits of Captain James T. Kirk and Mr Spock.

"It's an unbelievable year for us," Gelfond said on the sidelines of the World Economic Forum.

Gelfond didn't see the crisis eating into profits, which he said were still benefiting from Imax's shift five years ago from film to a digital medium, cutting costs significantly.

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It still costs between US$1 million ($1.9 million) and US$1.5 million to convert a 35mm film into Imax format, but Gelfond said good films easily recovered that.

The Imax version of The Dark Knight, the format's most successful film, raked in about US$60 million last year on only 1 per cent of screens it played on, he said. Imax takes in about 12.5 per cent profit from its screenings.

"The movie industry is generally fairly recession-proof," Gelfond said.

"People see the movies as a simple pleasure. You may not be able to go on vacation. You may not be able to eat in a four-star restaurant. But you can go to the movies and get relatively inexpensive escapism."

An Imax screen is like high-definition for a movie theatre. They can be anywhere from 12m high such as on 42nd street in New York - which Gelfond said was the highest grossing theatre in America - to eight-storey tall screens in London, Sydney and elsewhere in New York.

As many as 700 people can fit in a single cinema, making margins bigger than for normal movie halls. "It's a premium experience at a premium price," he said. "But it's a simple premium. It's only about US$3 more."

Of course, for films like last year's Speed Racer, which Gelfond said flopped in Imax as it did on normal screens, profits may prove elusive.

But he said the demand for theatres and Imax showings was growing.

There are about 175 commercial Imax theatres in the world, Gelfond said, including one in Auckland. A backlog of 250 exists - 150 in the United States and 100 abroad - which the company hopes to build by late 2010 or early 2011.

He identified China and Russia as growth markets, and said contracts were generally being honoured.

- AP

 

Dreamworks' 3D Super Bowl Stunt Gets Mixed Reviews

http://celluloidjunkie.com/2009/02/02/dreamworks-3d-super-bowl-stunt-gets-mixed-reviews/

Posted: 02 Feb 2009 02:07 AM CST

Click here to view the embedded video.

From the moment Dreamworks Animation first announced that it would run a 3D trailer for it’s March release “Monsters. vs. Aliens” during Super Bowl XLIII everyone working in the entertainment industry took notice, especially those in distribution and exhibition.  Now that the big game is over and sports pundits have begun recapping every play, marketing experts and the public at large will spend the next several days discussing which Super Bowl commercials worked, which were forgettable and which were downright embarrassing.  This year, Dreamworks’ 1:30 second trailer for “Monsters vs. Aliens” will definitely be one of the ads which is hotly debated in regards to whether it helped or hindered the film it was meant to promote, specifically because it aired in 3D.

Certainly the Super Bowl telecast is no stranger to advertising stunts, though not all of them turnout as expected. (remember Budweiser’s Bud Bowl?).  Over the years, giving moviegoers a first glimpse of upcoming tent pole releases during the Super Bowl has become an important part of many blockbusters’ marketing campaigns, not to mention one of the most expensive parts.  Ads for this years Super Bowl cost USD $3 million for a 30 second spot.

Nobody needs to be told, at least nobody in the United States, that the Super Bowl has become a premiere event for launching advertising campaigns.  In fact, it may be the single most important event in the North American ad world each year.  During the last four decades numerous memorable television spots first aired during the Super Bowl.  In 1973 Master Lock set the bar by firing a bullet through it’s product.  Coca-Cola, a perennial Super Bowl advertiser had a huge hit with it’s spot featuring hall-of-famer Mean Joe Green in 1979.  Beer commercials, such as Budweiser’s “True” spots, have also been a big hit through years.  But by far, the most referenced Super Bowl commercial of all time was Apple’s 1984 ad to introduce the Macintosh computer.  The spot, which first aired 25 years ago, is still deemed one of the most successful ads to ever run during the telecast, even though it never even showed the product.

To pull off their 3D Super Bowl ad, DreamWorks Animation teamed up with PepsiCo and microchip manufacturer Intel.  PepsiCo produced and ran a 60 second 3D spot to advertise its product SoBe Lifewater.  Intel produced 125 million pairs of 3D anaglyph glasses which could be picked up on SoBe retail displays.  Big box stores such as Target also had a supply of the glasses.  The public was made aware of the promotion and instructed where they could get obtain the 3D glasses through special radio and television ads like the one embedded above.

I picked up a pair of glasses just a few hours before the Super Bowl began at a Target in Woodland Hills, CA.  When I asked the cashier at the front of the store where I could find the 3D glasses, I was directed to the store’s electronics department where personnel promptly handed them out.  At least in my personal experience, retail staff was well educated about the promotion and not an obstacle in distributing the glasses.

The glasses are plastered with logos for Intel, InTru3D, “Monsters vs. Aliens”, NBC and SoBe along with instructions to “Tune in at the end of the 2nd quarter” on February 1st, 2009.  However, nowhere does it say “tune in” to what.  Of course, the glasses were the standard anaglyph variety with a red, or amber, lens on the left side and a blue lens on the right.  For a majority viewers, anaglyph is the only way to watch 3D broadcasts on a television at home.  Some LCD, DLP and plasma sets being sold today come with modern 3D capabilities though the install base is negligible.

At the end of the 2nd quarter, just before the half time show, the block of 3D commercials for “Monsters vs. Aliens” and SoBe were preceded by a brief announcement instructing viewers to put on their 3D glasses.  The 3D effect in the trailer for “Monsters vs. Aliens” was certainly noticeable, but due to the anaglyph glasses the image was dark and discolored.  As well, the quick editing in the trailer exacerbated that vertigo feeling some viewers of 3D films have historically complained about.  Using the glasses to watch the spot on a computer was a surprisingly better experience.  You can view the trailer which ran during the Super Bowl here.

Ironically, the SoBe commercial may have come off better, technically speaking.  It was shot entirely in white, so brighter and less discolored.

But, in the end, it is the more than 125 million viewers that were watching the Super Bowl who are the ultimate judges of whether the ads actually worked or increased the awareness of “Monsters vs. Aliens”.  To find out what some of them might be saying I turned to Twitter, a popular social networking application that allows users to send short, 140 character text messages to friends and followers.  Twitter’s site was abuzz with people talking about the 3D ads and the reviews were mixed at best.  Some blurted out frustrations at not having the 3D glasses.  Here is just a sampling (with identities removed):

“Wow I’m sorry DreamWorks & Intel but your 3D stuff in red and blue sucked!! Yes someone brought me glasses but it looked terrible!!”

“I had heard coming out of CES that 3D TV was going to be big, but I REALLY don’t get it.”

“No 3d glasses”

“Sobe 3D ad was better 3D than the Monsters vs Aliens 3D ad”

“Monsters vs. Aliens 3D 5 out of 5!”

“Forgot to cut our 3-d glasses. Only one of us could watch.”

“I guess i’ll have to get 3-d glasses somewhere. The commercials look weird without them.”

“Rewind and watch in 3D again…”

“Is it just me, or was all that 3D stuff really difficult to watch?”

“Oxfordfilm**** wishes she hadn’t forgotten her 3D glasses at work.”

“Monsters vs aliens 3d was incredibly disappointing”

“Overall, the SoBe ad 3-D effects came off marginally better than ‘Monsters vs Aliens.’” (From TVGuide)

“Monsters vs. Aliens on IMAX is gonna be flippin’ AMAZING!”

“Aliens vs. Monsters will be so bomb.”

“Alright I saw the movie trailer I wanted to. Aliens Vs. Monsters looks awesome.”

“Monsters vs. Aliens in 3D - red ball in beginning by far best 3D moment.”

“The 3D with the glasses on my wall mounted screen was awesome. Esp the one w/ everyone in white.”

“Kind if disappointed at the 3D commercials. I gotthe glasses for it and everything.”

“Wow that 3D ad was a total fail. Good thing it didn’t cost much, oh wait….oops.”

“3D glasses??? How come we never heard about this??”

There were also a few from viewers who tried to use polarized 3D glasses they held onto from recent 3D film releases:

“The Hannah Montana 3D glasses did NOT work for the Monsters VS. Aliens trailer, which is OK cuz it looked stupid anyway.”

“Wasn’t impressed with the 3D ads - I put on my Hannah Montana 3D specs on - could see 3D but color was off.”

Most important to Dreamworks Animation no doubt is whether the trailer actually got people interested in seeing the film.  Some seemed to be won over:

“I think I’ll have to take the kids to see monsters vs aliens in 3d.”

The ads certainly worked to get people talking about the technology.  I even ran across a Twitter post from Senthil Kumar, head of Reel Image:

“I’ve seen the TI DLP RP TVs with demo 3D content and it’s great for the home but you need a 60+ in screen or it’s no fun.”

Blogs, the latest baromoter of public opinion for just about everything in life, were quick to weigh in on the 3D commercials too.  SlashFilm ran a poll asking readers to vote for their favorite Super Bowl movie ad.  After 690 votes, the trailer for “Star Trek” was leading with 59% of the votes while “Monsters vs. Aliens” wasn’t in the top five.  CrunchGear, an offshoot of popular technology blog TechCrunch, cut right to the chase by asking whether the 3D ads were “hot” or “not”.  With 178 votes in, Not was leading with 126.  Cinematical was running a similar poll and of the five choices “I never picked up the glasses to begin with” was leading the pack with 101 votes.  “They were okay” was in second place with 55 votes.

While these polls may not prove much, it was one of the comments posted on Cinematical that may have best summed up the 3D stunt:

“Why promote the amazing current technology that would wow the majority of public that hasn’t seen it with antiquated red/blue-lackluster crap?”

Dutch indie theatres embrace digital cinema with AAM deal

http://www.screendaily.com/ScreenDailyArticle.aspx?intStoryID=42954&Category=

 

Eleanor Kenny in London

02 Feb 2009 21:43

 

Dutch independent chain the Amsterdam Booking Company (ABC) has signed a digital cinema rollout deal with Arts Alliance Media (AAM) to convert 68 screens in 20 theatres.

 

It is the first virtual print fee (VPF) funded rollout  in the Netherlands but the move may prove more significant for other reasons.

 

AAM will hope it represents a significant breakthrough in a stalled D-cinema conversion programme in Europe. It offers a vote of confidence in the potential for VPF deals for independents after a period when there has been a big debate about whether smaller theatres could afford to make the change.

 

And it also suggests that 3D can be a commercial driver for change.

 

Technicians are already pushing hard to meet a February 11th deadline so that ABC screens will be ready for the release of Disney's 3D Bolt.

 

ABC then plans to follow that up with a flurry of 3D specials such as Monsters vs. Aliens (Dreamworks/Paramount), Up (Pixar/Disney), Ice Age 3 (Twentieth Century Fox), Planet 51 (Sony Pictures), Toy Story 3D (Pixar/Disney) and James Cameron's Avatar (Twentieth Century Fox).

 

The group will be banking that the Digital 3D screens will generate higher box office than standard screens, but the technology will offer greater flexibility too, as the deal covers the installation of a professional satellite network for the transmission of live events and encrypted content.

 

Not only does this represent another step toward critical mass for digital, it presents very immediate evidence that the indies believe the VPF business model can work in their favour and deliver a competitive advantage as well as flexible programming.

 

ABC has a 10% share of the Dutch market and as the owner, Paul Visser, explained, "We see clearly what the future of cinema is going to be – digital, 3D and live events. AAM is the best partner to make that happen and enable us to be the first widespread movers in the Netherlands."

 

As previously reported in ScreenDaily AAM argues that "no cinema is too small and no country too remote" for VPF and AAM's CEO, Howard Kiedaisch, certainly believes that 68 screens is certainly another key milestone in the journey toward mass market coverage.

 

As Kiedaisch said, "It's exciting to show that VPF can work for the small guys as well as the big guys. It's an aggressive step forward for Dutch independents and ABC will be ahead of everyone in the Netherlands. Their competitive advantage starts now with greater flexibility and the ability to show 3D and alternative content. We are now looking to piece together the same type of deal in our home market in the UK and other European territories. It can work, come one, come all, I say."

 

Under the conditions of the agreement, AAM will create a fully integrated DCI-compliant digital cinema and satellite network within the ABC group of cinemas.

 

To date, AAM has installed 420 digital cinema screens in Europe across the UK, France, Spain and Norway.

 

The company is currently completing the 400-screen rollout in France's Circuit George Raymond (CGR Cinémas).

 

AAM was the first digital cinema provider in Europe to sign VPF-based deployment agreements with studios and exhibitors.

 

Arts Alliance strikes 3-D deal for Netherlands

http://www.hollywoodreporter.com/hr/content_display/world/news/e3i4fdb8e9f0eeb905c576132ba679a61f2

 

'Bolt,' 'Monsters vs. Aliens' among digital releases

By Stuart Kemp

Feb 2, 2009, 12:47 PM ET

 

LONDON -- European digital cinema provider Arts Alliance Media is spreading the digital word across the continent and has struck a deal with Dutch indie cinema circuit Amsterdam Booking Company to roll out in the Netherlands.

AAM will supply and integrate digital cinema in 68 screens within 20 cinemas across Holland.

The deal also covers the installation of a satellite network for the transmission of live events and encrypted content. The rollout will start immediately in order to equip screens for the Feb. 11 Dutch release of Disney's 3-D film "Bolt," AAM said. The animated canine adventure will be the first wide 3-D release in the territory.

Other 2009 3-D movies aiming for an ABC rollout include "Monsters vs. Aliens" (Dreamworks/Paramount), "Up" (Pixar/Disney), "Ice Age 3" (Twentieth Century Fox), "Planet 51" (Sony Pictures), "Toy Story 3D" (Pixar/Disney) and "Avatar" (Twentieth Century Fox).

"We see clearly what the future of cinema is going to be: digital, 3-D and live events," ABC owner Paul Visser said. "AAM is the best partner to make that happen and enable us to be the first widespread movers in the Netherlands."

ABC claims to have a 10% market share in the Netherlands. To date, AAM has a European footprint of 420 installed and operated digital cinema screens across the U.K., France, Spain and Norway. The company is completing the 400-screen rollout in France's Circuit George Raymond.

 

Monday, February 2, 2009

Imax chief bullish despite recession

http://news.yahoo.com/s/ap/20090131/ap_en_mo/davos_forum_imax/print

 

By BRADLEY S. KLAPPER, Associated Press Writer Bradley S. Klapper, Associated Press Writer

Sat Jan 31, 3:08 pm ET

 

DAVOS, Switzerland – The CEO of megascreen producer Imax Corp. said he was confident the movie business would remain "fairly recession-proof" and that his company would benefit this year from the release of the new "Star Trek" film and the latest "Harry Potter" epic.

 

Richard Gelfond said the Canadian company planned to release as many 10 films in Imax theaters in 2009 — up from seven last year.

 

They include the big-screen adaptation of Alan Moore's acclaimed graphic novel "The Watchmen," a tale about ex-superheros in an alternate America; "Avatar," James Cameron's first feature film since the Oscar-winning "Titanic"; and "Lost" creator J.J. Abrams' much anticipated reboot of the legendary Star Trek franchise focusing on the exploits of Captain James T. Kirk and Mr. Spock.

 

"It's an unbelievable year for us," Gelfond said in an interview with The Associated Press Friday on the sidelines of the World Economic Forum.

 

Gelfond didn't see the crisis eating into profits, which he said were still benefiting from Imax's shift five years ago from film to a digital medium, cutting costs significantly. It still costs between $1 million and $1.5 million to convert a 35 mm film into Imax format, but Gelfond said good films easily recover that.

 

The Imax version of the "The Dark Knight," the format's most successful film ever, raked in about $60 million last year on only 1 percent of screens it played on, he said. Imax takes in about 12.5 percent of profits from its screenings.

 

"The movie industry is generally fairly recession-proof," Gelfond said. "People see the movies as a simple pleasure. You may not be able to go on vacation. You may not be able to eat in a four-star restaurant. But you can go to the movies and get relatively inexpensive escapism."

 

An Imax screen is like high-definition for a movie theater. They can be anywhere from 40-feet high such as on 42nd street in New York — which Gelfond said was the highest grossing theater in America — to eight-story tall screens in London, Sydney and elsewhere in New York.

 

As many as 700 people can fit in a single cinema, making margins bigger than for normal movie halls.

 

"It's a premium experience at a premium price," he said. "But it's a simple premium. It's only about $3 more."

 

Of course, for films like last year's "Speed Racer," which Gelfond said flopped in Imax as it did on normal screens, profits may still prove elusive.

 

But he said the demand for theaters and Imax showings was continuing to grow.

 

There are currently about 175 commercial Imax theaters in the world, Gelfond said. A backlog of 250 exists — 150 in the United States and 100 abroad — which the company hopes to build by late 2010 or early 2011 despite threats, he said.

 

He identified China and Russia as important growth markets, and said contracts are by and large being honored.

 

"Most of the contracts we get paid 90 percent of the money before we ship. So there's not a great incentive to walk away," he said. "On the other hand, particular internationally, some of the new projects are based on new construction. So we're monitoring that."

 

3D's Bloody Hit

http://www.digitalcinemareport.com/node/682

Submitted by Nick Dager on Tue, 01/27/2009 - 16:27.

·         Big Picture

In a month during which the United States saw more than its fair share of historic firsts, the digital cinema world saw one of its own: My Bloody Valentine 3D was the first horror movie released in digital 3D and it was also the first to run on more than a thousand 3D screens.  Across the country consumers and critics alike have praised the movie. With critical acclaim and a box office take of more than $24 million in its first five days, Lionsgate has a hit on its hands.

Most of the online user reviews echoed these:

“3D is here to stay!”

“The slasher movie redefined …”

“Everything you’d want & more.”

Most of the major critics seemed to agree. Jeannett Catsoulis wrote in the New York Times:

“A strange synergy of old and new, “My Bloody Valentine 3D” blends cutting-edge technology and old-school prosthetics to produce something both familiar and alien: gore you can believe in. From the moment you duck a flying mandible and gaze, mesmerized, at a severed hand oozing two inches from your nose, you’ll be convinced that the extra dimension was worth seeking out. Stabilized by the welcome faces of old pros like Kevin Tighe and the genre giant Tom Atkins (The Fog, Creepshow), the movie’s staggering depth perception — you’ve seen a body cavity before, but how many have you fallen into? — is never disorienting. And if the wheezing, gas-masked villain is less than inspired, his parking-lot-to-motel-room pursuit of a naked, terrified young woman (Betsy Rue) is the most entertaining five minutes I’ve spent in a movie theatre in quite some time.”

Lionsgate’s Mike Polydoros was understandably upbeat when I spoke with him the week after the movie came out. “We’re all through the roof here,” he said. The movie has exceeded all internal expectations. According to Polydoros, in its first weekend the movie had a very respectable $19,000 per screen average on 1,033 3D screens, 2534 total screens. (According to Box Office Mojo, the movie had done a total of $37,687,394 in business after second weekend.) Polydoros said some 3D screens outperformed the 2D version by six-to-one.

“We are a very nimble company,” he said as he explained the impetus behind My Blood Valentine 3D. “We wanted to be the first out of the box with a 3D horror film.” Polydoros said the filmmakers’ goal was first to make “a great 80s slasher film and then add some 3D elements.” The production budget was under $15 million.

Asked about the decisions involved in releasing the movie, Polydoros paused and then said, “That was an adventure.” In his mind there are two key questions to be addressed when releasing any film. Are there any films in the same or similar genre releasing at the same time and are there enough available screens, in this case 3D screens?

Lionsgate might have preferred to release around Valentine’s Day but the perennial and newly remade Friday the 13th is releasing then. And the Coraline 3D movie released on February 6 was expected to take up many if not most of the available 3D screens. An added challenge was the fact that, to date, all of the 3D releases have been family films and what works for a family film doesn’t always work for a horror film.

The results suggest that Polydoros and Lionsgate answered all the challenges.

Whether a movie is 3D or not Polydoros, who is responsible for overseeing digital cinema developments for Lionsgate, is certain that all their movies going forward with digital releases.
“If you don’t release it digitally today,” he said, “you’re leaving money on the table.”

The next 3D release scheduled from Lionsgate is Alpha and Omega, an animated family movie due out in April 2010. “Do we offer a 2D version next time?” he speculated. “It depends on the number of 3D screens available.”

 

NATO Reviews D-Cinema Requirements With Vendors

http://celluloidjunkie.com/2009/01/29/nato-reviews-d-cinema-requirements-with-vendors/

 

Posted by J. Sperling Reich | January 29, 2009 7:22 pm


After the positive response the National Association of Theatre Owners received from their meeting last June with manufacturers and service providers to review their Digital Cinema System Requirements, they decided to hold another meeting last Friday in Burbank, CA to go over version 2.1.  Brigitte Buehlmann , NATO’s Industry Issues Liaison, organized the meeting which was moderated by Michael Karagosian, a NATO consultant who oversaw the drafting of the latest requirements document.  [Full Disclosure: I attended this meeting on behalf of my employer, DTS Digital Cinema.]

Version 2.1 of the Digital Cinema System Requirements was published in December of 2008, just ten months after version 2.0 was published and two years after version 1.0.  This is a much speedier turnaround then the nearly three years it took the studios to update their phonebook size DCI Specification from version 1.0 to version 1.2, the latter of which was released in March of 2008.  No doubt, the dialogue NATO and its members began with manufacturers and service providers back in June expedited their ability to put a little meat on the bones of the first version of their requirements.

Indeed, version 2.1 of NATO’s Digital Cinema Systems Requirements is 21 pages in length, up from 14 in the previous draft.  And while there are definitely remnants of version 1.0 in the document, it’s remarkable how different this latest draft is in certain areas from the one that preceded it.(Version 2.1 of NATO’s requirements document can be downloaded here.)  Some of the alterations include:

  • Dynamic downmixing and dynamic range control of audio was omitted and replaced with a verbiage on venue specific audio so that theatres that do not have 5.1 audio can convert multi-channel audio to the appropriate number of channels.
  • Additional info on show schedules and show playlists (SPL) which per previous version need to appear in a standardized and interchangeable XML format to help with interoperability.
  • More detail was provided on show playlist packs, or Pack Playlists (PPL), specifically on parent show playlists and child show playlists.
  • The point-of-sale (POS) interface has been expanded to include more data fields, including a version ID and booking ID number.
  • Within the System Logs section the verbiage on confirmation logs has been dropped though seems to be covered sufficiently in the Content Record and Show Record portions.
  • The Captioning section in version 1.0 was exchanged for Section 3 of the latest draft which details Disability Access.  Open captions is not touched on in the new version.
  • The Network Security section in the old draft has been transformed into Network and Other Communications.  The information on Facility List Messages (FLMs) which formerly appeared under the Content Security section has been moved to this re-labled section.

NATO obviously put a great deal of effort in revising version 2.1 of the requirements specifications, so it’s understandable that they wanted to highlight some of the changes in their meeting.  Karagosian started the day by discussing a topic near and dear to him; closed captions.  He  has helped push through specifications SMPTE 428-10 and 428-12.  What he really wanted to stress to equipment vendors and service providers in attendance was that exhibitors want the ability to use a wide range of captioning assisted listening devices, in addition to existing technologies such as WGBH’s Rear Window.  (USL, Inc. was in attendance to provide a demonstration of their latest closed caption technology which will be detailed in a future post).

Section 4 of the NATO requirements specifications deals with audio and seems to have been completely rewritten from the previous version.  Exhibitors are requiring that digital cinema servers now be able to identify audio on specific, labeled channels.  One audio requirement that left several equipment vendors scratching their heads was the request that cinema audio processors provide the ability to play a soundtrack in “bypass” mode in case of a sound system failure.  Some manufacturers don’t see how they can provide such a feature, for unlike 35mm film, which can always fall back to optical should digital audio equipment fail or lose power, there is no analog audio source in a digital cinema package.

NATO added very little in sections 5 and 6 of the document which deal with image and interoperability.  They simply requested that exhibitors have the ability to choose whichever projector lens they want and acknowledged that not all circuits will be capable of setting up their own web domains as facility identifiers.  A notable amount of time in the meeting was spent on Section 7, which details workflow automation.  This section wasn’t in the original NATO requirements document but seems to be rather important for exhibitors as it discusses the seamless automation of key delivery and management.

In discussing digital cinema workflow Karagosian explained, “We want a consistent and clear way of identifying a piece of content. Current suggestion is that the content be identified by globally unique V-ISAN number, but there is some question over whether this will work.”  Service providers and exhibitors both agreed that such a numbering system may not take into account the numerous versions that can exist for each film title, nor the numerous existing enterprise systems exhibitors have installed that would have to map to the V-ISAN number.

NATO concentrated on the speed at which digital content can be moved and ingested onto display systems in section 8 of version 2.1, which covers operations.  Exhibitors still want to be able to move content between screens in 15 minutes and if necessary load content onto a server so it can begin playing back immediately upon its arrival at a theatre. “That’s what this business model is built on.  In a movie theatre, with film, a platter can be moved in 15 minutes,” Karagosian pointed out.  “It’s about maximizing revenue.  One of the goals of digital cinema was that everybody hoped it would be able to do is move content freely.  Movies need to be rescheduled within 15 minutes.  That comes out of the real world and it emulates what we do in film.”

Vance Bowers, Goodrich Quality Theatre’s IT manager presented all the changes from Section 9 of the document which focuses on theatre systems.  There weren’t a whole lot of changes in what NATO was trying to convey, though they expanded the show schedule and point of sale data fields used for integration and further explained show playlists (SPL) and pack playlists (PPL).  In an attempt to synchronize the advertised showtime to the point where trailers begin in an SPL, rather than when preshow advertisements begin, a variable referred to as the POSShowTime was created to refer to the showtime scheduled in the POS and eventually handed off to digital cinema servers.

NATO realizes that not all exhibitors will want a full blown theatre management system, so in section 10, which focuses on the TMS, they broke the core functionality of such systems into three main components: content management, key and data management, show and POS management.  The most important alterations in this section revolve around the introduction of a data and key management system (DKMS).  The DKMS adds functionality that will manage all the keys coming into the TMS and which are rerouted to players.  It is also meant to manage all the information on equipment within a theatre so that it can service requests for facility list messages (FLM).  In addition, the DKMS is supposed to notify managers, exhibitors and KDM distributors when all keys for all the screens at a theatre have arrived for a specific piece of content.  Should exceptions occur, the DKMS will alert theatre personnel about:

  • Orphan KDMs when keys arrive for which content can not be found.
  • KDMs that arrive for which equipment can not be found.
  • A showtime scheduled on the POS which does not match a playlist on the TMS within a certain number of hours before a screening.
  • The expiration state of all the keys in the theatre.

There is very little in sections 11 and 12 on system monitoring and presentation hardware that manufacturers and service providers aren’t already aware of, so Kirk Griffin, the director of engineering for Harkins Theatres, was able to present these bits relatively quickly before moving on to section 13 on system logs.  After some debate over maintenance and operation logs it was agreed that the subject would have to be revisited so more detail can be added.  The biggest alterations here pertained to the addition of a unique identifier for film as well as the number of logging requirements and exception reporting logs.

Jane Durment, the chief information officer for Marcus Theatres, walked attendees through sections 14, 15 and 16 on content security, network security and service requirements.   Most of the changes in this portion of the requirements revolve around trusted communications.  Due to the number of systems being connected within a theatre, and ultimately touching systems outside the theatre, exhibitors wanted to clarify how such communications will be achieved and who will be responsible for them.  It was agreed by all that anti-virus software alone will not suffice in protecting digital cinema equipment.  Mark Walker, Technicolor’s vice president of technology and engineering, felt that it was the exhibitor’s responsibility, through whatever integrator they might be working with, to design case by case inter-connected systems.

In the afternoon, Karagosian walked a tightrope as he asked the manufacturers and service providers, many of whom spend most of their time competing with one another, to reveal what projects they might be working on and what their current development priorities were.  Most deflected the question by saying development priorities would be set by theatre owners, though some acknowledged that they were concentrating efforts around show playlists, workflows and network ecosystems.

Acknowledging that NATO’s latest set of requirements is asking manufacturers for a lot without setting any timelines for the development of the technology, Karagosian turned to exhibitors who were a little more forthcoming in stating their priorities.  Stabilizing the hardware and software that makes digital cinema possible was discussed, though the two issues that seemed to be consistently raised were closed captioning and KDM automation.   “Captioning is huge.  It’s not a simple piece,” Bowers noted.  “Nobody wants to do open captioning.  Not on every movie in every house.  I would have a hard time thinking of anything that’s a higher priority than that.”

Griffin agreed, “Everything else should be sidelined until we get captions done.  Something has to happen on that right away.”

Overall the meeting seemed to be quite productive for all who attended and I wouldn’t be surprised if NATO continues to revise their requirements document to incorporate some of the thinking that came out of Friday’s meeting.  In an effort to keep the dialogue between exhibitors and vendors ongoing, Karagosian said NATO would hold a similar meeting sometime later this year, probably in early summer.

 

Friday, January 30, 2009

Sandy Climan, Hollywood's 3D Man

http://www.businessweek.com/innovate/content/jan2009/id20090128_979054.htm

 

As head of 3ality, he's helping to bring a new generation of 3D to the big screen and, perhaps soon, to TV, too

Sanford R. "Sandy" Climan spent more than a decade as one of Hollywood's most powerful dealmakers. A top lieutenant to superagent Michael Ovitz, Climan represented such stars as Robert De Niro, Robert Redford, and Kevin Costner while brokering deals for Sony (SNE), Mastushita, and Seagram to buy Hollywood studios. These days he has a new role: bringing 3D movies, television shows, and live events to the masses on movie screens and, perhaps soon, on TV sets from which characters will seemingly pop off the screen and into your living room.

Older readers might recall 3D from the 1950s, when moviegoers donned dorky green-and-red cardboard specs for a Saturday matinee. And younger readers undoubtedly know 3D from IMAX theaters. Climan hopes to go further. The 52-year-old chief executive of 3ality Digital and his crew of 40 or so employees have developed a patent-pending system of turning films shot on two-dimensional cameras into 3D flicks using equipment including a rig that puts two cameras together—one to shoot for each eye—and then synchronizes them perfectly so their images appear to come off the screen.

So far, 3ality has produced a 3D concert movie by the band U2 and in early January shot a 3D college football game, the FedEx (FDX) BCS National Championship, that partner Cindedigm Digital Cinema (CIDM) beamed to more than 80 theaters.

By this time next year theaters will be cluttered with 3D flicks. Movie houses are hustling to install new digital projectors so they can boost revenue by charging the higher ticket prices that 3D features command. Film studios, which get about half of what theaters collect from showing their productions, see larger dollar signs, too, from 3D. Among the coming attractions: DreamWorks Animation's (DWA) Monsters vs. Aliens and Avatar, a sci-fi flick from Titanic director James Cameron. Meantime, Walt Disney (DIS) and DreamWorks have committed to making all their animated flicks in 3D, while Steven Spielberg and Lord of the Rings director Peter Jackson are collaborating on a 3D Tintin.

Climan figures 3D won't be limited to theaters. His Burbank (Calif.) company has filmed a 60-second 3D commercial for PepsiCo's (PEP) SoBe Lifewater that will appear during the Feb. 1 Super Bowl. They've also used 3ality's technology to convert an episode of the NBC show Chuck into 3D, which will air the next day. In both cases, folks at home will need special cardboard blue-and-amber 3D glasses that are being made available at Kmart (S), Target (TGT) and several grocery chains. DreamWorks is also showing a 3D trailer of its Monsters vs. Aliens during the NFL championship. "Once you see a picture in 3D, you never want to go back," says Climan, "whether it's in a movie theater or your home theater."

Although 3D goes back to the early years of film, 3ality's movies and video employ technology that might finally bring 3D into the mainstream. Thanks to computerized digital timing, new 3D films can be broken down to the millisecond, eliminating jumps or pauses that caused previous generations of 3D movies, which were shown on two projectors at once, to fall out of sync and produce laughable or sometimes even nauseating effects. (3ality's gear uses Intel (INTC) microprocessors, which explains why the chipmaker has joined with Pepsi in sponsoring the giveaway glasses for the 3D ad.)

Since leaving Ovitz and his Creative Artists Agency behind in 1999, Climan has become a full-fledged entertainment entrepreneur. A Harvard MBA—Climan also has a master's degree in health policy and management from Harvard—he started Entertainment Media Ventures, which owns a significant piece of Legacy Sports, a sports talent agency. The Los Angeles venture is also an entertainment consultant for Harrah's Entertainment (HET) and has arranged long-term gigs for Elton John and Jerry Seinfeld at Harrah's Las Vegas casinos.

But it's 3ality where Climan sees the brightest prospects. The company, he says, intends to offer its services to any studio that wants to show its own products. Although he's generally mum on potential deals, he says he's talking with Fox and Sony, which have already partnered with 3ality on the football game broadcast. At the same time, 3ality will produce content itself, as it did in its test with U2, which turned into a theatrical concert movie that grossed $20 million last year. The mantra for now, he says, is for Hollywood to create enough content for viewers in movie theaters and, when the price comes down, on TV.

And how soon might 3D come to people's homes? LG, Sony, Philips (PHG), and Samsung all showed off 3D sets at the Consumer Electronics Show in Las Vegas in January. Though none is yet on the market, the sets will be able to show 3D movies that studios are currently putting on high-definition Blu-ray discs, he says. For now folks will still have to wear those glasses, although sunglass designers are making them less clunky and maybe even a little cool. And down the road—how far even Climan isn't willing to venture—consumer-electronics companies will offer sets that won't require 3D glasses at all. That's when the picture will, well, pop.

Grover is Los Angeles bureau chief for BusinessWeek.