Is The Digital 3D Movie “Fad” Over? | /Film

Is The Digital 3D Movie “Fad” Over? | /Film

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The Ultimate 3D Movie Preview and Release Date Schedule | /Film

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From Bob Johnston - Article - Eutelsat looks to broadband and 3D for growth - Financial Times - June 29

Financial Times FT.com

Eutelsat looks to broadband and 3D for growth

By Maija Palmer in London

Published: June 29 2009 22:20 | Last updated: June 29 2009 22:20

Eutelsat, the French satellite operator, is pushing into new markets such as broadband internet services and 3D television in order to boost revenue as the television market stagnates.

"Normal TV has a limit," Giuliano Berretta, chief executive of the company, told the Financial Times. "The rate of increase in TV revenues slowed this year. We can't have double-digit growth unless we can grow the broadband business and a new type of TV consumption."

Eutelsat, which provides satellite connections for TV companies such as Sky Italia, has seen revenue growth in its main television business slow from double-digit increases to just more than 5 per cent growth in the first nine months of its current fiscal year.

Satellite TV markets in western Europe are gradually becoming saturated, and although the industry is hoping for an uplift from high-definition TV, this has yet to see widespread take-up.

TV accounts for about three-quarters of Eutelsat's revenues, but Mr Berretta is hoping that new businesses can help accelerate growth.

Earlier this year, the company launched Tooway, a satellite-based broadband service that can provide fast internet connections rivalling speeds available through a fixed-line connection. Priced at €35 ($49) a month, this has the potential, for the first time, of making broadband via satellite appeal to the mass market.

A number of European countries, including the UK, France, Germany and Italy have made commitments to guarantee broadband internet access to all citizens, and satellite may be a key way to reaching the more remote communities. Swisscom, the Swiss incumbent telecommunications operator, and FastWeb, the Italian internet service provider, have recently signed deals to use Eutelsat's broadband services.

Eutelsat plans to spend about €350m next year on the launch of a new satellite that will be able to handle these broadband connections more efficiently. Mr Berretta said he hoped broadband would account for at least €100m in annual revenues – about 10 per cent of sales – within the next few years.

At the same time, the company has launched a number of pilot projects in 3D TV, in an effort to stimulate development of this market. In July, for example, the company will be sending a 3D broadcast of a concert by French singer Julien Clerc in La Rochelle to several locations around France. The company also worked with Sky Italia to broadcast a basketball game shot in 3D.

3D technology is gaining popularity in the movie industry with a number of recent films, such as Monsters vs Aliens, Coraline, and James Cameron's forthcoming Avatar, all made in 3D. In TV, the technology is in its infancy, although BSkyB is making investments in it, and has predicted that a 3D TV service could be rolled out within the next two to three years.

Mr Berretta is determined for Eutelsat to be at the forefront of the technology as it develops.

"3D is a real revolution. We are creating a specialisation in shooting and transmitting it," Mr Berretta said.

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RealD Live to Bring 3D Alternative Entertainment Broadcasts to Theatres

RealD Live to Bring 3D Alternative Entertainment Broadcasts to Theatres

2009-06-24 22:40:03 - 

RealD, the world's leading outfitter of 3D theatres, announced RealD LIVE, a new product that works with the company's Cinema Systems enabling RealD equipped theatres to display live event broadcasts from anywhere in the world in crisp, clear, fully immersive RealD 3D. With 3D films driving today's record box office, RealD LIVE promises to open new 3D entertainment opportunities to the over 8,700 screens contracted to RealD with live alternative content broadcast capabilities for concerts, sporting events, theatre and more.

"Films presented in RealD 3D are driving today's box office showing moviegoers overwhelmingly prefer the true-to-life entertainment experience of RealD 3D," said Joe Peixoto, RealD president of worldwide cinema. "RealD LIVE is the next step in 3D entertainment, offering our thousands of exhibition partners around the world the ability to show spectacular live events on their big screens."

Another technology leap from the world's leading 3D entertainment company, RealD LIVE is a separate product that when connected to RealD Cinema Systems receives a broadcast signal and converts the stream to a format compatible with digital cinema projectors. RealD LIVE works with the company's DLP® 3D solutions, the Cinema System and XL Cinema System, which is capable of reaching screens up to 80 feet in width, and with the Sony 4K compatible XLS Cinema System. With standard RealD cinema eyewear, audiences will experience the high quality, stunningly lifelike viewing experience RealD 3D is known for.

RealD LIVE will bring worldwide distribution to technology recently used for live broadcasts of sporting events to RealD equipped theatres in the U.S. RealD LIVE is expected to be available in the fourth quarter of 2009.

Market Watch

Jun 21, 2009, 10:00 p.m. EST

RealD Achieves 100% Growth Worldwide, 400% Growth in Europe in First Half of 2009

Over 8,700 Screens Contracted and Over 3,200 RealD 3D Screens Installed

LONDON & LOS ANGELES, Jun 21, 2009 (BUSINESS WIRE) -- RealD announced today that it has doubled its installation base of RealD 3D equipped cinema screens worldwide and notched 400% growth in Europe in the first half of 2009. Far and away the world's largest 3D cinema platform, RealD's network of theatres is expanding at a breathtaking clip, nearly doubling the number of 3D cinema installations of all other 3D providers combined. The RealD 3D platform now accounts for over 8,700 screens under contract and over 3,200 screens installed in more than 45 countries with over 200 exhibition partners.

"Doubling our installation footprint worldwide and growing in Europe five fold in only 6 months is an extraordinary accomplishment and a testament to the exploding popularity of 3D cinema among moviegoers," said Michael V. Lewis, RealD chairman and CEO. "RealD 3D continues to defy global financial trends with consistent box office results multiple times that of 2D screens. We expect the growth of RealD 3D to continue to accelerate as a result of the fantastic line-up of 3D films this summer and beyond."

RealD's accelerating growth further establishes the company as not only the global 3D cinema market leader, but leading 3D cinema provider in territories including North America, Latin America, Australia and Europe. The company recently supplemented its roster with exclusive multiyear partnerships with circuits in France, Germany, Austria and Ireland, driving its market leading European footprint to 400% growth in six months, now totalling over 2,000 screens under contract and over 750 RealD 3D screens installed.

Added Joe Peixoto, RealD president of worldwide cinema, "RealD delivers the highest-quality 3D entertainment experience on screens up to 80 feet with a single projector, without the heavy capital layout of other 3D providers. This combination of quality and inherent value to our exhibition partners is what continues to make RealD the 3D provider of choice."

"It's very exciting that we're now beginning to see a significant 3D rollout into international markets, thanks in large part to RealD's commitment to making this happen," commented Jeffrey Katzenberg, CEO of DreamWorks Animation. "We look forward to this higher level of deployment, as DreamWorks Animation has plans to release three feature films into theatres in 3D in 2010."

A driving force in this year's elevated box office totals, RealD 3D consistently delivers three to four times per screen revenue of the same film on 2D screens, with blockbusters including DreamWorks Animation's Monsters vs. Aliens and Disneya-Pixar's Up having earned over $100 million on 3D screens. There are over 40 films slated for release on RealD 3D from all major studios, and more announced regularly, assuring the exponential growth of the RealD 3D platform.

About RealD

RealD is the global leader in 3D, bringing the most advanced and realistic 3D experience to cinemas worldwide. RealD's new generation technology, deployed across the world's largest 3D platform, provides the highest-quality, stunningly lifelike viewing experience. Beyond cinema, RealD is the worldwide inventor and provider of key stereoscopic technologies used in science, manufacturing, marketing, and other industries, with thirty years of scientific development behind its systems. RealD's mission-critical 3D visualization technologies are used by organizations such as NASA, Pfizer, BMW, Boeing and more. www.realD.com

Comin' at Ya -- Indies Riding 3D Wave, Too - Indies and minimajors are seriously getting in on the 3D act.

Published on The Wrap (http://www.thewrap.com)

---

June 21, 2009, 3:11PM CDT
Category: MOVIES
By: Carolyn Giardina - 

Comin' at Ya -- Indies Riding 3D Wave, Too

Screen count the big hurdle for smaller 3D films.

Indies and minimajors are seriously getting in on the 3D act.

While most of the attention -- and box office -- for 3D surrounds big studio titles like Disney-Pixar's "Up" and DreamWorks' "Monsters vs. Aliens," smaller companies are riding the format wave as well.

"There are more 3D indies than tentpoles in development," said Bob Johnston, executive producer at 3D company Paradise FX.

Johnston said that Paradise has been in some level of discussion on nearly 40 potential independent 3D features, the majority of which are aiming for the $6-18 million budget range.

The company's indie 3D work includes "Dark Country," which was acquired by Sony but does not yet have a release date; and titles that are seeking distribution, including "The Hole," which is in post, 

and "Street Dance," which is in preproduction.

 

The cost of 3D will vary by the complexity of a production, but Johnston said that a film with $10-15 million budget, for example, would likely need an additional 10-15% for 3D. 

 

Exhibitors and 3D TV stakeholders -- who have been asking for a steady stream of 3D content to justify their investments -- will no doubt view this activity as good news. But others point out that there are pitfalls.

 

Some of these involve production and screen count. Estimates are that there are slightly more than 2,000 3D ready screens in the domestic market. Securing those screens for a theatrical release can be a challenge.

 

"There are not enough screens for indie movies right now, and too many big budget 3D movies are coming out," said Steve Schklair, CEO of 3Ality Digital Systems, the company behind "U2 3D." (Separately, RealD announced Sunday that it has doubled its installation base of RealD 3-D equipped cinema screens worldwide and notched 400% growth in Europe in the first half of 2009.)

 

Last weekend, for instance, Vivendi opened "Call of the Wild 3D." But with Disney/Pixar's "Up" playing in the majority of the 3D auditoriums, the indie opened on only 14 screens and at press time had generated a paltry $16,688.

 

In contrast, Lionsgate's "My Bloody Valentine 3D" found success in a three-week window last winter, during which it had access to 1,033 3D screens. The film was made for $16 million and generated $51.5 million at the domestic box office. On "My Bloody Valentine," an estimated $3 million of the $16 million total budget went to the 3D engineering.

 

"We were lucky that we released when we did," director Patrick Lussier said. "Our production budget was low, and we could afford to come out on just 1,033 screens and still make money. But the more you spend, the more screens you have to have."

 

Despite the bubbling up of 3D indies, Schklair still suggested, "I wouldn't pin my 3D indie on theatrical, but I would plan for direct-to-disc. And the investor needs to understand that it is a five year -- not one year -- payback, as it will take time to get the 3D TVs in homes."

 

But 2009 was the year in which lower-rung companies got into the 3D act. Following "My Bloody Valentine," Focus Features opened Laika-produced "Coraline." Henry Selick's 3D stop-motion animated film earned $75.3 million domestically and just over $105 million worldwide.

 

In August, New Line-Warner Bros' 3D release "The Final Destination" is slated to open August 28. New Line found success last summer with the surprise hit "Journey to the Center of the Earth," which  grossed $240 million worldwide on a $60 million budget. To be fair, it didn't have to share any screens with other 3D titles but it still showed what a format title can do given the opportunity.

 

And nWave Pictures, which produced last summer's Summit-distributed animated indie "Fly Me to the Moon," is working on its next 3-D movie titled "Around the World in 50 Years 3D."

 

As interest in the format grows, the indie community is starting to produce and view more 3D projects, including at demonstrations and conferences. But some are reporting getting headaches during some of these screenings, and that has stakeholders concerned.

 

"What scares me the most are bad 3D movies coming out," Schklair said. "That is what killed it in the '70s."

 

To address this concern, numerous stakeholders are participating in production education for the community.

 

Schklair noted that proper budgeting is also a consideration: "It's not quite a low budget medium yet. Some projects end up with shots that will hurt your eyes, but they don't have the money to fix it in post."

 

But it really comes back to screen count. "We need enough screens to support three or more 3D film at once, that is when independents can take advantage of the format," Lussier suggested. "Some people say one day every movie will be in 3D, but until they can release all those movies in 3D, it going to be a while."

Source URL: http://www.thewrap.com/article/screen-count-big-hurdle-smaller-3-d-films_3807

Luc Besson to build mega studio - Facility to lure Hollywood blockbusters to Paris

Posted: Thurs., Jun. 11, 2009, 10:58am PT

Luc Besson to build mega studio

Facility to lure Hollywood blockbusters to Paris

By TOBIAS GREY, JOHN HOPEWELL

http://www.variety.com/index.asp?layout=print_story&articleid=VR1118004816&categoryid=3599

Luc Besson's EuropaCorp and Tarak Ben Ammar's Quinta Communications are partnering to launch the e30 million ($42 million) Paris Studios, France's first modern megastudio.

Paris Studios aims to rival London's Pinewood and Berlin's Babelsberg as home to big Hollywood shoots, as well as European and French productions. Construction begins in December, and the studios will open in early 2012.

Speaking at Thursday's launch, Besson, accompanied by Ben Ammar and Culture Minister Christine Albanel, said he'd already received positive feedback from Hollywood studios, singling out Fox Filmed Entertainment co-chair Jim Gianopulos.

With nine soundstages, including one at 23,680 square feet, Paris Studios will be part of the ambitious La Cite du Cinema film complex, located at a former power station in Saint Denis, northern Paris, where the press conference was held.

Beyond EuropaCorp and Quinta, other Paris Studios shareholders are facilities provider Euro Media Group and Besson's Frontline, which holds his 62% stake in EuropaCorp.

La Cite du Cinema will house the Louis Lumiere National Film School, offices for EuropaCorp and Ben Ammar, as well as workshops, offices for other movie companies and a state-of-the-art theater.

Outside the Paris Studios, La Cite is owned by La Nef Lumiere, a joint venture of Gallic state investment bank Caisse des Depots and Vinci, a French property developer.

Investment in La Cite -- including the Paris Studios, construction, equipment, hardware and offices -- runs at around $224 million.

La Cite is a Besson passion project, which he first conceived, he said Thursday, when he was forced to shoot 1997's "The Fifth Element" at Pinewood in London for lack of a big French studio.

Despite the huge productions they host, Europe's main studios are not large money-spinners. In 2008, Pinewood-Shepperton Studios turned a $9.2 million profit, Berlin's Babelsberg $4.9 million.

Albanel said the Paris Studios' greenlight had been facilitated by Gaul's new 20% tax rebates for Hollywood shoots, approved by the National Assembly in December.

The Paris Studios and Cite complex mesh with EuropaCorp's growth plans at a time when it's suddenly been thrown under the Hollywood spotlight by the $150 million U.S. box office for EuropaCorp-produced "Taken."

Two-thirds of EuropaCorp's movies are now aimed at the international market. It will be a major user of the Paris Studios while seeking international and French shoots to use them as well.

The Paris Studios will also help EuropaCorp's deliver productions to U.S. studios at competitive prices, as was the case with "Hitman," which EuropaCorp made for Fox.

The Paris Studios launch was greeted with jubilation by the Gallic film industry.

"They could have a very big impact as a complement to the tax rebates," said Patrick Lamassoure, managing director of Film France.

"Big foreign shoots will now have a complete studio with not only state-of-the-art soundstages but also high-tech and post-production facilities, like Pinewood or Barrandov," Lamassoure said.

EuropaCorp's Paris Studios investment will be capped at $8.4 million.

Read the full article at:
http://www.variety.com/article/VR1118004816.html