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Digital 3D Entertainment From Theater to Home Why, How & Opportunities

DIGDIA
January 1, 2010
158 Pages - SKU: DDA2554667

Attention: There is an updated edition available for this report.

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Someone flipped a switch on the topic of “3D” in 2009. Then, during CES in January, 2010, 3D was suddenly on everyone's mind as multiple 3D TVs, Blu-ray players, and TV channels were announced. In every industry from movie production to consumer electronics, the subject of 3D has been a main topic of discussion. Topics like Digital Cinema, Digital Cable and HDTV have begun to settle down and forward thinkers are now wondering what 3D means to their businesses. It is difficult to think of a topic that is catching fire across this many parts of the digital entertainment value chain.

While many people still wonder out loud if 3D is just a fad the way it was in the past, a growing number of people are well beyond this controversy - and they are putting their money where their mouth is. Investments are being made all across the board. Yet, in the wake of CES 2010, the industry also knows that much work is yet to be done. The engineers know this all too well.

This report covers the value chain from the production, distribution and exhibition of 3D movies to the ways companies are planning and offering 3D to the home. This edition greatly expands coverage of the issues that face the industry to make 3D successful in the home. Market issues and technologies are explored - both essential to understand if one intends to take advantage of the opportunities in digital 3D. This report is 158 pages, with 114 illustrations and 17 tables.

1 Introduction
2 Digital Cinema Overview
3 Digital 3-D Movie Market: 3.1 Why Now and Will it Succeed?; 3.2 3D Titles; 3.3 How Many 3D Screens are Needed?; 3.4 Number of 3D Screens; 3.5 Theater Economics; 3.6 Distributor Economics; 3.7 Video; 3.8 Games
4 Digital 3D Content Creation: 4.1 Production; 4.2 Postproduction
5 Digital 3D Exhibition: 5.1 Triple Flash; 5.2 3D Projection Technologies; 5.3 Image Brightness; 5.4 3D Server; 5.5 Live 3D Alternative Content; 5.6 The Screen and Dead Seats
6 Home viewing: 6.1 3D Standards and Groups; 6.2 3D Televisions and Displays; 6.3 Consumer 3D Format Wars; 6.4 Codecs; 6.5 Other issues; 6.6 Media & Content
7 Appendix: 7.1 Glossary; 7.2 SMPTE Standards Index; 7.4 Organizations; 7.5 Books; 7.6 Publications; 7.7 Conferences
Figures: Figure 1 - Number of 3D Feature Movies by Year; Figure 2 - Digital Cinema Ecosystem Overview; Figure 3 - Production & Postproduction workflow; Figure 4 - Distribution and Theater Workflow; Figure 5 - Live 3D event poster; Figure 6 - Growth of 3D Screens major titles have opened with; Figure 7 - 3D Genres Percentages; Figure 8 - Total Number of Screens by Theater Chain Rank; Figure 9 - Simulated Number of 3D Screens Needed; Figure 10 - Growth in 3D Screens Worldwide (2006 - 2009); Figure 11 - Worldwide Market Share of Major Digital 3D Vendors; Figure 12 - Percentage of 3D Screens Installed in N.A., Europe, Asia/ROW; Figure 13 - Digital Cinema Screens by Region, 2005 - 2009; Figure 14 - Projection of Digital Cinema Screens by Region; Figure 15 - Projection of 3D Screen Count by Region; Figure 16 - How VPF Money Flows; Figure 17 - Release Windows; Figure 18 - Average Theater to DVD Window vs. Domestic Theater Gross; Figure 19 - Theatrical to DVD Window from 2000 to 2008; Figure 20 - Percent of Box Office Take by Week After Release; Figure 21 - Timeline of Studio agreements with Premium TV; Figure 22 - Depth Script; Figure 23 - Transitioned Depth; Figure 24 - Eye's Parallax; Figure 25 - Parallax relative to the screen; Figure 26 - Percival's Zone; Figure 27 - Distance from Screen vs. Disparity; Figure 28 - A Depth Budget rule of thumb; Figure 29 - Trench binoculars for exaggerated depth; Figure 30 - Virtual camera placement when zoomed in; Figure 31 - Keystoning; Figure 32 - Camera convergence and where infinity appears in theater; Figure 33 - Safe Area; Figure 34 - False perspective used in Lord of the Rings; Figure 35 - False Perspective; Figure 36 - What Left and Right Eye see; Figure 37 - Floating Window; Figure 38 - 3D camera used for Creature from the Black Lagoon; Figure 39 - DepthQ 3D Camera Rig; Figure 40 - 21st Century 3D cameras; Figure 41 - NHK Technical Services camera; Figure 42 - 3D camera with adjustable intraocular; Figure 43 - Pace HD Fusion; Figure 44 - 3ality camera (side view); Figure 45 - 3ality looking into the beam splitter; Figure 46 - Convergence and Interocular controls; Figure 47 - Silicon Imaging SI-2K Mini; Figure 48 - Iconix HD-RH1; Figure 49 - Concept Panasonic 3d Camera; Figure 50 - Kruno Mav Rig; Figure 51 - Thomson camera for Depth Mapping; Figure 52 - 3D Holographic Camera; Figure 53 - Real-time Holographic Video Display; Figure 54 - Ghosts; Figure 55 - Ghost busting; Figure 56 - Quantel Pablo 3D station; Figure 57 - Filmlight's Baselight DI station operating on a 3D clip; Figure 58 - DVS 3D output selection menu; Figure 59 - Dimensionalizing requires creating hidden images; Figure 60 - Triple Flash; Figure 61 - Z Screen polarizer and Christie projector; Figure 62 - An alternative polarization system; Figure 63 - Polarized glasses; Figure 64 - 2nd Generation Active glasses from XpanD; Figure 65 - Color Shifting; Figure 66 - Dolby glasses; Figure 67 - Inside of the projector where filter wheel goes; Figure 68 - Closeup of Dolby color shift wheel; Figure 69 - Sony 4K projector with RealD; Figure 70 - RealD XL System improves brightness; Figure 71 - RealD XL on a Christie Projector; Figure 72 - Stacked Projectors; Figure 73 - 3D Alignment Frame; Figure 74 - Doremi DCP-2000 Digital Cinema Server; Figure 75 - Dolby Digital Cinema products; Figure 76 - Dolby screenshot of playlist control; Figure 77 - QuVIS Cinema Player; Figure 78 - GDC Tech Digital Film Server; Figure 79 - Sony Media Block; Figure 80 - Qube servers and control panel; Figure 81 - Kodak Content Player; Figure 82 - DTS Digital Cinema FilmStore; Figure 83 - NEC Server; Figure 84 - XDC CineStore Solo G3; Figure 85 - XDC touchscreen; Figure 86 - Electrosonic Player; Figure 87 - DVC Player; Figure 88 - Digital Cinema Servers; Figure 89 - Diagram of how Live 3D Sports works; Figure 90 - Screen gain; Figure 91 - Keystone perception issue; Figure 92 - Dead seats; Figure 93 - Hannah Montana 3D Glasses from Wal-Mart; Figure 94 - 3D standards in the value chain; Figure 95 - Side-by-Side with Passive Glasses; Figure 96 - Not all anaglyph are the same; Figure 97 - Samsung 3D glasses; Figure 98 - Lenticular Lens; Figure 99 - nVidia glasses and emitter; Figure 100 - 3D Picture Frame; Figure 101 - Parallax Barrier; Figure 102 - Consumer 3D Camera; Figure 103 - SLR 3D Lens; Figure 104 - 3D for the iPhone; Figure 105 - 3D Mobile Phone in Japan; Figure 106 - Two-layer LCD 3D; Figure 107 - Sony 3D Glasses; Figure 108 - 3D Glasses for immersive game play; Figure 109 - 3D Mobile TV; Figure 110 - 3D Portable Gaming; Figure 111 - Various 3D Data Formats; Figure 112 - 3:2 and 2:3:3:2 Pulldown; Figure 113 - Examples of new 3D glasses fashion; Figure 114 - Sisvel 3D glasses sensor
Tables: Table 1 - 3D screen box office multiplier over 2D; Table 2 - 2005 to 2007 Digital 3D Movies/Events and Comments; Table 3 - 2008 Digital 3D Movies/Events and Comments; Table 4 - 2009 Digital 3D Movies/Events and Comments; Table 5 - 2009 Digital 3D Movies/Events and Comments (Cont.); Table 6 - 2010 Planned Digital 3D Titles; Table 7 - 2010 Planned Digital 3D Titles (Cont.); Table 8 - 2011 3D Titles; Table 9 - 2011 and later Planned 3D Titles; Table 10 - 3D Cameras and Production; Table 11 - 3D Editing and Digital Intermediate; Table 12 - Stereoscopic 3D theater systems; Table 13 - 3D Technologies Comparison; Table 14 - 3D Technologies Comparison (cont.); Table 15 - 3D Television Vendors and Technology employed; Table 16 - Digital Signage 3D Display Companies; Table 17 - 3D Codec Vendors

Digital 3D Entertainment From Theater to Home Why, How & Opportunities

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