Saturday, August 17, 2013

Reflections on the Growth of 3D Returns

After a two month hiatus, Reflections on the Growth of 3D is back, examining the latest advances in 3D technology, the current status of the 3D feature film industry, the highly competitive but rapidly consolidating 2D to 3D conversion industry, comparisons and relative advantages of 3D conversion over 'native' filming with camera rigs, the latest information on 4K and how it impacts the 3D industry, the fascinating neuroscience of stereopsis as it applies to 3D movies and much more.

Over the past year and a half, Reflections on the Growth of 3D has earned a regular following of readers in over 20 countries.  I want to express my appreciation for the many emails I received this summer inquiring when new blog posts will be published and most of all, the emails from those of you who have requested posts on specific topics that are generally not covered in other 3D-centric blogs.  With a readership heavily biased within the international entertainment community, I believe the popularity of Reflections on the Growth of 3D demonstrates a sustained interest in the status of 3D as an evolving standard and the future of entertainment both in the home and in the theater. Look for noted guest contributors to this blog in the future.  Your continued feedback is always welcome and very much appreciated at

The following article recently appeared in 3DFocus (

3D movies still bringing in financial awards

cineword logo 475x133 3D movies still bringing in financial awards

Despite lacklustre reception in the home, 3D entertainment is still able to increase ticket revenue at the box office according to Cineworld.

The 80 site cinema chain has reported an almost 25% increase in profit before tax in the first half of the year thanks, in part, to 3D presentation up charging.  Revenues rose to just over £200 million.
Almost a third of the takings were from 3D releases, with the higher ticket fees raising the average admission to £5.39 (a rise of 4.7%).
‘Film studios are becoming increasingly adept in discerning the genre and target audience of 3D films and the quality of 3D product remains critical,’ the company said.
This is positive news for companies who have invested heavily in 3D production equipment and conversion technologies.  Cineworld have also introduced motion seats known as D-BOX which vibrate in time to the on-screen action which in itself carries an additional charge.
Many will conclude that 3D in the home is not feasible (or not ready) but cinemas can still attract people to watch 3D content, and more importantly pay extra for it.
The cinema industry have also pushed 3D presentation for obvious reasons.  ODEON/UCI have even controversially tested the concept of ONLY showing 3D versions of movies in some sites.  Speaking at the 3D Creative Summit earlier this year Drew Kaza, Executive Vice President for Digital Development for Odeon/UCI Cinemas said the results were very positive.
He said: "We are only into the first week of releasing the film but it’s very promising. We hope to move from a 42% incremental increase [in average 3D revenue] to 55%. We are already up to 50% in the first week of the release and most of the second time viewing is in 3D. It’s a sign of things to come into how we approach it.”