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Chris Nolan: “I never meet anyone who actually likes 3D”

Article by Vince Mancini

Reposted from

Studios love 3D because they can charge more for it, but with the exception of a few who truly love it (James Cameron, Peter Jackson, Martin Scorsese of late), most filmmakers seem like they just sort of go along with it as a compromise. “Eh, sure, go ahead and convert it to 3D if you must, just leave me alone.” Chris Nolan, on the other hand, has earned the right (read: the money) to tell the studio to suck his jeans if he wants to. And that’s why The Dark Knight Rises, the most anticipated movie of the year and probably the easiest to get people to pay a premium for, won’t be in 3D.

“The question of 3-D is a very straightforward one,” Nolan said in a recent interview. “I never meet anybody who actually likes the format, and it’s always a source of great concern to me when you’re charging a higher price for something that nobody seems to really say they have any great love for.

“It’s up to the audience to tell us how they want to watch the movies. More people go see these films in 2-D, and so it’s difficult data to interpret. And I certainly don’t want to shoot in a format just to charge people a higher ticket price.”

For some filmmakers, you could ascribe not wanting to shoot in 3D to simple laziness, since the 3D rigs are more complicated and less maneuverable (The Avengers was post-converted for similar reasons). But not in Nolan’s case.

Nolan shot nearly half of his Batman finale using bulky IMAX cameras, whose 70mm frame is about 10 times the size of standard movie film. He also insisted that distributor Warner Bros. release “The Dark Knight Rises” in at least 100 IMAX cinemas that can project it on film rather than in the digital format that has been gradually replacing celluloid. [Salon]

Basically, Chris Nolan cares, and that’s why people like him. He’s like a British Ryan Gosling in that way.

I won’t be surprised if filmmakers like Peter Jackson and James Cameron and especially Martin Scorsese eventually find worthwhile, creative uses for 3D, but in the vast majority of cases, it’s kind of just a pain in the ass. Your eyes are already doing a perfectly adequate job interpreting a 2D image to give the illusion of three dimensionality, adding another layer is only more realistic in the sense that a pop-up book is more realistic than a regular book. And even if it is infinitesimally more “immersive,” you still have to contend with a couple pretty huge drawbacks – having to wear dumb glasses for an entire movie, and a screen that’s 20 percent dimmer. I don’t want to wear glasses. What am I, a nerd? I’m a grown man who wants to spend his Saturday nights watching superhero movies, not some kind of nerd.

YouTube Announces Channel Lineup

There’s a lot of last-minute scrambling among the channels poised to join Google’s potentially revolutionary initiative featuring professionally produced videos — which kicks off in earnest in just a few weeks. Several execs say they still don’t know exactly what they’ll show, when they’ll debut, and how much promotional help they’ll receive from YouTube. But one thing’s becoming clear: The initial wave of services out of the 96 picked to receive investments from YouTube will be loaded with material either from or about celebrities. That’s not part of a master plan; a lot of Web video producers already focus on pop culture and can gear up new channels in a hurry. The group includes Madonna’s DanceOn, which has been on YouTube since late 2010; it will reintroduce itself in January after it revamps its interface and programming. It plans 10 series including scripted shows, competitions, and tutorials but says it’s still figuring out when each will begin to appear. A different kind of celeb, skateboarder Tony Hawk, also is expected to have his action sports oriented Ride Channel ready next month.

When it comes to services about entertainment, some execs tell me that they’re curious to see what happens with Young Hollywood Network, which launches on January 16. It plans to have five weekly shows featuring interviews with stars and moguls including some conducted at the company’s studio in the Four Seasons Hotel. ENTV from Deadline parent PMC in a partnership with ION will focus on breaking entertainment news with frequent daily updates beginning January 16. The channel also plans a weekly show with TVLine Editor-In-Chief Michael Ausiello, a daily celebrity news chat with Hollywood Life Editor-In-Chief Bonnie Fuller, as well as a show that rounds up some of the day’s best clips from the YouTube channels. Joining the entertainment news sites sometime in late January will be Clevver News, which will have as many as nine original episodes a day including the daily Radar Latinocovering Spanish-language news and celebs. Most programs will only last a few minutes. “That’s been a real challenge: What’s a YouTube viewer willing to watch?” says Clevver Media Co-Founder Michael Palmer. “A lot of people watch YouTube at work or while they’re waiting in line. We’re playing around with time.”

Wonderful things happen when cool technology meets great entertainment. Cable television expanded our viewing possibilities from just a handful of channels to hundreds, and brought us some of the most defining media experiences of the last few decades– think MTV, ESPN and CNN. Today, the web is bringing us entertainment from an even wider range of talented producers, and many of the defining channels of the next generation are being born, and watched, on YouTube.

Today we’re announcing that even more talented creators and original entertainment will soon join YouTube’s existing channel lineup, including channels created by well-known personalities and content producers from the TV, film, music, news, and sports fields, as well as some of the most innovative up-and-coming media companies in the world and some of YouTube’s own existing partners. These channels will have something for everyone, whether you’re a mom, a comedy fan, a sports nut, a music lover or a pop-culture maven.

Our goal with this channels expansion, along with the grants and educational programs we’ve launched in the past year, is to bring an even broader range of entertainment to YouTube, giving you more reasons to keep coming back again and again. And for advertisers, these channels will represent a new way to engage and reach their global consumers.

The first of these new original channels will appear on YouTube starting next month and continuing over the next year. They’ll be available to you on any internet-connected device, anywhere in the world, with all the interactivity and social features of YouTube built right in.

For a sneak peak, check out the list of partners and channels below.

Alchemy Networks, Alchemy Networks
Alli Sports, Alli Sports
Bedrocket Media Ventures, Official Comedy
Bedrocket Media Ventures and Full Picture Productions, Look TV
Bedrocket Media Ventures & Wasserman Media Group, Network A
BermanBraun, theLOGE
BermanBraun & Rodale Inc., Vigor
BermanBraun & Rodale Inc., Taste
Big Frame, BAM
Black Box TV, Black Box TV (Anthony E. Zuiker, Tony E. Valenzuela, and Collective Digital Studio)
Bleacher Report, Bleacher Report
Brady Haran, DeepSkyVideos
Brady Haran, numberphile
CafeMom, CafeMom Studios
Chopra Media/Generate, The Chopra Well
Clevver Media, ClevverStyle
Clevver Media, ClevverNews
Clevver Media, ClevverTeVe
Comedy Shaq Network, The Comedy Shaq Network
Cooking Up a Story, Food Farmer Earth
DanceOn, DanceOn
DECA, KinCommunity
Demand Media, eHow Home
Demand Media, LIVESTRONG
Demand Media, eHow Pets & Animals
Digital Broadcasting Group (DBG), Spaces
East of Center Productions LLC, YOMYOMF
Electus, Pop Culture Channel (name TBD)
Electus NuevOn, Latin Channel
Electus, Food Channel (name TBD)
Emil Rensing International, Auto Channel (name TBD)
EQAL, u look haute!
Everyday Health, Inc., Everyday Health TV
FAWN by Michelle Phan
Fine Brothers Productions, MyMusic
Frederator Networks, Channel Frederator’s Cartoon Hangover
FremantleMedia Channel, Pets & Animal (name TBD)
Hearst Magazines, Fashion & Beauty Channel (name TBD)
Hearst Magazines, Car and Driver Television
Iconic, Life and Times
IconicTV, 123UnoDosTres
IconicTV, myISH
IGN Entertainment / Shine Group, START
Intelligent Television, Intelligent Channel
Jon M. Chu, Dance Channel (name TBD)
Katalyst, Thrash Lab
Knights of Good Productions, Geek & Sundry (with Felicia Day)
Lionsgate, Lionsgate Fitness Channel
Machinima, Machinima
Magical Elves and InStyle magazine, Little Black Dress
Maker Studios, The Maker Music Network
Maker Studios, The Moms’ View
Maker Studios, Tutele
Meredith Corporation and Meredith Video Studios, Digs
ModernMom, ModernMom Channel
Mondo Media, New Animators
monotransistor, werevertumorro
My Damn Channel, My Damn Channel: Live
New Nation Networks, New Nation Networks
Pharrell Williams, i am OTHER
Philip Defranco, Sourcefed
Pitchfork, Pitchfork TV
PMC, PMC Entertainment News
Radical Media, Education Channel (name TBD)
Red Bull Media House North America, Red Bull
Roadside Entertainment/BAC, The NOC
SB Nation, SB Nation
Seedwell, American Hipster
Slate, Slate News Channel
Smart Girls at the Party, Smart Girls at the Party
Smosh/Alloy Digital, Smosh Animation
Soccer United Marketing & Bedrocket, KickTV
SoulPancake Productions, SoulPancake
Source Interlink Media, Motor Trend
Steve Spangler Science, The Spangler Effect
TakePart™, TakePart™ TV
TED Conferences, TEDEducation
The Bowery Presents, The Bowery Presents
The Nerdist Channel, The Nerdist Channel
The Onion, Onion Broadcasting Company
The Wall Street Journal, The Wall Street Journal
The Young Turks, Town Square
Thomson Reuters,
Tony Hawk’s production company, 900 Films, Inc., RIDE Channel
Uncommon Content Partners, The Conversation Channel
Uncommon Content Partners, Taste & Access
Varsity Pictures, Awesomeness
VICE, Noisey
Vlogbrothers, CrashCourse
Vlogbrothers, SciShow
Vuguru & POW! Entertainment, Stan Lee’s World of Heroes
Walter Latham Digital, Walter Latham’s “Kings of Comedy”
WWE, WWE Fan Nation
Young Hollywood, Young Hollywood Network

MPA Europe takes down Pirate Bay operators

A press release from MPA Europe representing the Hollywood majors in their battle with those wishing to enrich themselves trading in intellectual properties that are not their own:

STOCKHOLM, SWEDEN — The Court of Appeals in Sweden this afternoon upheld the criminal convictions for copyright infringement against three of the individuals in The Pirate Bay case. The three, Frederik Neij, Peter Sunde and Carl Lundström, had appealed their convictions for copyright infringement imposed by the Stockholm District Court in April 2009.

Following this afternoon’s announcement, Chris Marcich, President and Managing Director of the MPA Europe said

“Now that a Swedish Court has declared the operators of The Pirate Bay guilty of copyright infringement for a second time, we hope the relevant authorities will take the appropriate action to ensure that the site ceases its illegal activities. The Pirate Bay has flaunted the law while continuing to cause serious harm to the creative economy globally, generating substantial revenues for its operators. The decision of the Swedish Court of Appeals today upholding the criminal convictions of the Pirate Bay operators is very much welcomed. This confirms that such activities are illegal and if you engage in them, you run the risk of very significant consequences.

The Pirate Bay’s sole purpose is to facilitate and promote the unlawful dissemination of copyrighted content for the profit of the site operators. The entire business model is built upon copyright infringement. Preventing illegal distribution of copyrighted material on the internet is central to protecting the rights of copyright holders, and also to supporting the continued investment in new online services and the creation of new films and television programmes. “

Note: The fourth defendant Gottfrid Svartholm was also convicted of the same offence and also appealed. His appeal was postponed due to his ill-health and is yet to be heard.

Following the appeal by the defendants against their convictions, rights-holders appealed the decision of the District Court in relation to the damages awarded against the operators for their infringing activities. In a welcome move, the Court of Appeal increased the amount of damages payable to 46 million SEK (up from 32m SEK).

The Court of Appeals did, however, revise the term of the prison sentences against each of the appellants based on their level of participation:. Neij was sentenced to 10 months, Sunde to 8 months and Lundström to 4 months. Each was originally sentenced to a one year term.

BACKGROUND:- In February 2009 four defendants; Frederik Neij, Gottfrid Svartholm, Peter Sunde and Carl Lundström, were charged with contributing to copyright infringement by facilitating the illegal distribution of copyrighted material in relation to the unauthorized online distribution service, The Pirate Bay. All four were convicted on April 17, 2009 and sentenced to one year’s imprisonment. Substantial damages were also awarded against them.

This was an important decision for rights-holders, underlining their right to have their creative works protected against illegal exploitation and to be fairly rewarded for their endeavours.

The four immediately appealed both their criminal conviction and the damages award. (The one year’s prison sentences were delayed pending the appeal).


UPDATE: 11.27.10

A Swedish appeals court Friday shortened the prison terms of two founders and a financier of Swedish filesharing site The Pirate Bay, but increased the damages to be paid to movie and music firms.

“The Appeals Court, like the district court, finds that The Pirate Bay service makes possibly illegal filesharing in a way that entails a punishable offense for those who run the service,” the court said in its ruling.

Three founders of the site Peter Sunde and Fredrik Neij, both 32, and Gottfrid Svartholm Warg, 26, were in April 2009 found guilty of promoting copyright infringement with the website.

The verdict, considered an important symbolic victory for the movie and recording industry, handed the three founders along with an important financier of the site, 50-year-old Carl Lundstroem, sentences of one year in prison.

On Friday, the Svea Appeals Court shortened Neij’s sentence to 10 months, Sunde’s to eight months and Lundstroem’s to four months.

Warg, the third co-founder, received the same lower court sentence as the others, but did not take part in the appeals trial due to illness. He will face a separate trial probably next year.

“Unlike the lower court, the appeals court does not believe one can make such a collective decision entailing that everyone carries the same responsibility for what is done within the framework of The Pirate Bay,” the court explained.

However, it ruled that instead of paying around 32 million kronor (3.4 million euros, 4.5 million dollars) in damages to the movie and recording industries, the amount should be hiked to 46 million kronor.

“This is because the Appeals Court to a larger extent than the district court has accepted the plaintiffs’ presented evidence of their losses,” the court said.

Founded in 2003, The Pirate Bay, which claims to have more than 23 million users, makes it possible to skirt copyright fees and share music, film and computer game files using bit torrent technology, or peer-to-peer links offered on the site.


One of America’s Great Directors, Arthur Penn

Being a child of the 60’s one can’t help but think back of some of the great films that exploded from that era, Mickey One, and The Chase and of course, Bonnie and Clyde.  All were from the capable hands of Arthur Penn who cut his teeth in the golden era of (live) television drama in the 50’s and came full circle in the last ten years supervising LAW & ORDER.

Bonnie and Clyde was not an easy sell for the studios and mainstream critics but it’s youth-oriented anti-authoritarian message became a touchstone for the emerging counter culture of the 1960’s and made way for a new generation of filmmakers:

“Mr. Penn was perceived as a major film artist on the European model, opening the way for a group of star directors — including Robert AltmanTerrence MalickBob Rafelson and Hal Ashby — who were able to work with comparative artistic freedom through the next decade. The “film generation” had arrived.” quote from Dave Kehr in The New York Times

- Scott Arundale

Sally, we will miss you

Sally Menke, the editor behind all of Quentin Tarantino’s films, died yesterday while hiking with her dog in the 113-degree Los Angeles heat. According to The Los Angeles Times, her body was found early this morning after friends alerted the authorities when she didn’t return from her hike. Her dog was found alive.

It’s always a tragedy to lose anyone at the height of their creative skill and with so much left to offer. Menke was only 56, but that goes doubly so when it’s so unexpected. Menke received her second Oscar nomination just last year for Inglourious Basterds (the first was for PulpFiction), and it’s hard to watch that film without marveling at how the editing enhances it. Think of the long takes in the opening cabin scene combined with cuts between the two actors’ faces. Think of the surprising jump in perspective in the basement pub scene, where you realize the German officer has been there all along, listening. An editor’s work must often deliberately fade into the background, but Tarantino’s films relied so heavily on Menke’s work that many consider her his co-author. It’s hard to estimate the impact this will have on Tarantino’s future work, and honestly, you wonder if his movies will ever feel quite right again.

Our thoughts go out to Menke’s family and friends after this shocking loss. If you want to learn more about this woman and her incredible career, Movieline did a great interview with her last year, just before she received her Lifetime Achievement honor at the Hamilton Behind The Camera Awards. You can also watch this video interview below in which Tarantino talks about his work with Menke, calling her his “number-one collaborator.”


Avid Demo this Monday in Orange, CA

Avid demo with editors from the hit TV series Lost:
This Monday, September 27th,  join LOST Video Editor Chris Nelson and Sound Re-recording Mixers Frank Morrone and Scott Weber as they discuss Avid’s essential role in producing one of television’s biggest hits.  Learn more about the processes behind their multiple award nominations and wins. Join us for an open dialog and see the process first hand as you are taken through each cut.  Discover how Chris, Frank and Scott work with their peers and fine tune video and audio tracks to create the final cut using Avid Media Composer and Pro Tools. The presentation will be in the Folino Theater on Monday, Sept. 27 from 5:00 – 6:30pm. Pre registration is strongly encouraged. Register at

Former Home Entertainment Champ Blockbuster throws in the towel

Blockbuster made it official today, filing its long expected Chapter 11 bankruptcy, with a line of creditors that includes its product suppliers like Fox, Sony, Universal, Warner Bros and Disney. It seems unfathomable that given Blockbuster’s supremacy at one time–think of all the mom and pop video stores that went out of business when Blockbuster set up shop nearby–the corporation could not have been more forward thinking. It could have owned the VOD and rental by mail space dominated by Netflix, and it got its head handed to it by Coinstar’s Redbox, which offered the same DVDs in supermarket kiosks for 25% of the rental prices charged by Blockbuster. While Carl Icahn is reportedly buying up Blockbuster debt and somebody might take a shot at resurrecting Blockbuster and its $1 billion in assets, it might well be too late to establish itself in VOD and as a buyer of pay TV rights for films, as Netflix is now doing at a fraction of the costs incurred by Blockbuster to maintain its 3000 stores. It’s a cautionary tale about standing pat when the sand is shifting under your feet, and Blockbuster’s woes are similar to those being felt by brick and mortar bookstores like Borders and Barnes & Noble, which is hard pressed to compete with outlets like Amazon, serving up both paper books and e-titles without having to pay the light bill and staff the cash registers.



Blockbuster’s bankruptcy filing was a long time in coming, but is still daunting when you think back to how omnipresent and powerful the company used to be. To be sure, there has been a lot of distracting M&A and corporate drama surrounding Blockbuster over the years which no doubt contributed to its decline. Still, there have been fundamental shifts in its business that Blockbuster missed.

Specifically, Netflix has been both a catalyst of Blockbuster’s demise and also a big beneficiary. Now, with Netflix aggressively pursuing over-the-top streaming, it is inevitably going to put pressure on traditional pay-TV operators. So what might pay-TV operators learn from Blockbuster’s bankruptcy? Here are 6 things. No doubt there are more.

1. Love your customers, don’t abuse them – Blockbuster earned the enmity of its customers with egregious late return fees. Short-term that was profitable, but long-term it built up huge resentment and frustration (Netflix lore is that CEO Reed Hastings started the company in response to his own frustration over late fees). When customers feel taken advantage of, the door swings open to competitors. Many pay-TV subscribers spending $100 or more per month feel they’re over-paying for lots of channels they don’t watch. That should be a red flag to prompt changes in pay-TV packaging.

2. Don’t cling to incumbent business models – When you have a good thing going, it’s tempting to not to change. Blockbuster hung on to its store-based and pay-per-rental model and entered fixed price DVD-by-mail and online distribution late and half-heartedly. As Andy Grove famously said, “Only the paranoid survive.” The point is, the world changes and so must business models. For pay-TV providers, just because multichannel subscriptions have worked for years doesn’t mean they always will.

3. Physical infrastructure may not matter as much as hoped – It’s often the case that having lots of physical infrastructure creates a big entry barrier for would-be competitors. For Blockbuster, its network of thousands of stores was thought to be an insurmountable advantage. But Netflix avoided stores by using the mail (and building relatively few distribution centers). Similarly pay-TV operators have invested billions in their networks, but over-the-top players like Netflix are simply using the open Internet to deliver their content. While physical infrastructure often helps, pay-TV operators shouldn’t consider it a rock-solid defense.

4. What appears inferior may actually be superior – It may be a distant memory now, but when Netflix started it was actually less convenient than Blockbuster, because you had to wait to receive the DVDs a few days out, whereas with Blockbuster you could drive down the street and get something immediately (even if it wasn’t always your top pick). But Netflix turned that disadvantage into an advantage by developing sophisticated inventory software and the ability for subscribers to create/manage queues. The result was subscribers disproportionately watched older movies, largely avoiding the stockout phenomenon and financial burden that plagued Blockbuster’s hits-driven business. Similarly, today Netflix offers no live programming, making it an inferior offering to pay-TV. But with consumers shifting to on-demand viewing, not having live is becoming less important.

5. DNA and focus matter, a lot – Like human beings and leopards, it’s awfully hard for companies to “change their spots.” Blockbuster succeeded by operating a store-based model. When they tried to overlay DVDs-by-mail and online they couldn’t execute. Netflix started as DVD-by-mail only and relentlessly refined that model. It’s been extraordinary to see how seamlessly they’ve evolved to online delivery. Pay-TV operators have struggled to evolve from linear delivery to anywhere/anytime/any device delivery. Pay-TV operators mustn’t let their DNA disadvantage them.

6. Technology is a friend and must be embraced – A huge part of Netflix’s success is due to advanced technology deployed in every aspect of its business. I have a hunch that that’s because Reed Hastings is a tech guy himself, who respects and understands technology’s critical role. It’s unlikely that anyone who walked into a Blockbuster store ever felt it was high tech. My memories of being in stores are about seeing low-paid, apathetic teenagers staffing the whole operation. With pay-TV operators, many have made huge strides in how they use technology in their operations, yet too often deficiencies are obvious to their subscribers. Things that are a given on the web like self-service ordering are still rare, requiring tedious phone calls.

So there are 6 things pay-TV operators can learn from Blockbuster. No doubt there are many others as well. Netflix’s fingerprints are all over Blockbuster’s demise. Pay-TV operators need to be vigilant because they are next in Netflix’s cross-hairs.


Why Are the Big Studios Afraid of Little Ivi?

Ivi streams broadcast television programming to computers for only $4.99 per month. NBC, CBS, Fox, and Disney have a problem with that.

While Ivi, Inc., has only launched a week ago, the Seattle, Washington, startup has gotten quite a bit of attention. That’s not surprising when its business model is taking over-the-air television content and streaming it for a fee.

At the moment, Ivi (pronounced “ivy”) offers broadcast channels from Seattle and New York City, which can be viewed on any Internet-connected Windows, Mac, or Linux computer. The company plans to add additional markets every 45 days, says founder and CEO Todd Weaver, including Los Angeles, Chicago, and San Francisco.

After that, Ivi plans to offer an a la carte premium channel selection. Weaver won’t name names, but says the company is in talks with channel creators. Once it has a stable of premium channels, the company will offer theme-based packages of channels.

Viewers will also be able to view a range of independent channels. Ivi offers a few now, including public access, sports, and music channels, and plans to add more. The company is in talks to add pay-per-view sports channels, as well, Weaver says.

Growing Like Wild
Besides growing its channel list, Ivi has other plans that should help it spread like, well, ivy. First the company is looking to the mobile space. It’s already submitted an iPad app, and even a revision to that app. Weaver expects the app to be approved and available in the iTunes Store by mid-October.

After that, the company will offer iPhone and Android apps.

Once the mobile bases are covered, Ivi will look to set-top boxes, reaching out to makers such as Roku.

Ivi’s features will grow, as well. Currently, subscribers can pay an extra $.99 per month for Ivi Pro, which offers simple pause, fast forward, and rewind options. Look for that to grow into more fully-featured DVR controls with program scheduling.

If this all seems like fast growth, consider that Ivi was incorporated back in 2007, and only just launched its first consumer offering. It’s been using that time to build out its encryption, says Weaver. Rather than a traditional digital rights management system, which prevents sharing, Ivi has built a downloadable player that allows the subscription to travel with the subscriber.

Legal Battles Ahead
The cease-and-desist letters began almost immediately after Ivi launched. Fisher Communications and NBC Universal were first, says Weaver, followed by representatives for ABC, Fox, the CW, and several more. All alleged that what Ivi is doing constitutes copyright infringement.

The company’s defense, says Weaver, is that Ivi is a cable system transmitting under U.S. copyright laws, and that the Copyright Act authorizes this type of secondary transmission. While the law may not have caught up with online streaming yet, he says that cable operators and satellite broadcasters all had to fight the same fight in their early days.

When the first letters came in, Ivi sent replies explaining what it was doing. After it heard from more companies, it filed a letter of non-infringement in Seattle court.

Despite going up against some pretty deep pockets, Weaver is optimistic that the law is on Ivi’s side.

“It’s very much a David and Goliath competition. We’re a small company fighting for the distribution rights of consumers,” Weaver says.

While it’s the networks that are going after Ivi, Weaver says the cable and satellite companies have most to lose.

“They’re going to be the most mad, there’s no doubt. At the end of the day, we’ll be eating their lunch,” Weaver says. “Should they be worried that their subscriber base is going to be dropping? Yes, I’d say so.”


Blu-Ray 3D is like a toy in the cereal box for TV manufacturers

Disney and Sony have just announced a pact to bring Alice in Wonderland and Bolt on Blu-ray 3D exclusively to Sony 3D TV customers, adding to a tangle of exclusivity deals that is ultimately afflicting consumers.

Under the deal, people who buy a Sony 3D TV will be able to receive the Disney Blu-ray 3D titles for free. At least for the time being, these titles will not be released in stores and are not going to be available through any outlet as standalone movies.

It is an increasing trend in the burgeoning Blu-ray 3D playing field, as movie studios find it hard to stomach the cost of producing a new format for such a small audience, and TV manufacturers are eager to provide incentives to come to their side. Thus, TV makers have been paying the studios to get exclusive rights to the Blu-ray 3D versions of their films.

Samsung and Dreamworks have a tight pact, allowing only people who buy a special Samsung 3D glasses bundle to get the 3D version of Monsters vs. Aliens. Shrek will also be getting a similar treatment. Meanwhile, Panasonic offers Coraline and Ice Age: Dawn of the Dinosaurs. Panasonic also recently scored a major coup, gaining the exclusive rights to the Blu-ray 3D version of Avatar. That deal is widely assumed to be only as a timed exclusive.

The only Blu-ray 3D title that anyone can actually go to a store and buy is Cloudy with a Chance of Meatballs, a Sony Pictures flick. Sony 3D TV buyers do get a copy of that movie for free, but Sony decided to also make it available for other 3D customers as well. Only a handful of other titles are expected to be pushed to retail within the next several months.


3D Entertainment and Technology Festival is free to the public

The 3D Experience, New York’s first Annual 3D Entertainment and Technology Festival, today announced the presenters lineup for the Executive Forum. To kick off the three day event, key industry leaders and professionals will converge at the AMC Empire 25 Theaters in Times Square on Sept. 24 for a day packed with informative keynotes, presentations and panels encompassing the full spectrum of the 3D industry.

“The Executive Forum brings together industry pioneers and newcomers to take the pulse of the rising 3D industry and learn to navigate the ever-changing entertainment and technology landscape,” said Nino Balistreri, managing director for The 3D Experience. “3D has altered the way consumers experience digital content and will continue to push the limits of creativity. The 3D Experience will be an incubator for enduring partnerships and new revenue opportunities.”

The inaugural Executive Forum features a dynamic lineup including an all-industry address by Phil McKinney, vice president and chief technology officer, HP, followed by presentations from Ken Venturi, chief creative officer & EVP, National CineMedia, Robert H. McCooey, Jr., senior vice president of new listings and capital markets, NASDAQ OMX, Richard Gelfond, CEO, IMAX, Jim Chabin, president, International 3D Society, and David Beal, president, National Geographic Entertainment. These key industry veterans will cover the emergence of 3D in recent years, its financial impact, how to take advantage of its robust growth and thrive in this exciting, uncharted territory.

3D technology experts and industry creatives from Samsung, LG, Mitsubishi, Panasonic, RealD, 3ality, 3D Eye Solutions, Legend 3D, Motorola, Technicolor and more will delve into a broad range of topics including home entertainment, broadcast, video games, sports, post-production conversion of 2D to 3D, 3D’s future in advertising and filmmaking. Of note, Adweek’s award-winning advertising critic, Barbara Lippert, will moderate “Getting Ahead of 3D for Advertising Professionals,” a panel geared toward marketing and advertising executives who are experimenting with 3D technology. In addition, IMS Research’s Anna Hunt, principal analyst, will present on “The Elusive Consumer and Expectations for 3D in the Home.”

The 3D Experience Executive Forum attendees will be offered unparalleled networking opportunities through the NASDAQ Opening Night VIP Reception presented by LG, VIP film screenings, dinner reception and the highly-anticipated 3D TV Test Drive. For the latest more information on the speaker lineup and panels, please visit: Speakers.

The Executive Forum is targeted at industry professionals, but The 3D Experience will engage entertainment enthusiasts and general consumers alike by simultaneously presenting the 3D Consumer Showroom at the Discovery Times Square Exposition from Friday, Sept. 24 to Sunday, Sept 26. Hosted by Best Buy, the Consumer Showroom will be free and allow visitors to interact with a myriad of 3D products from 3D TVs, gaming systems, home theatre accessories and more. Showroom hours are Friday, September 24, noon-8pm; Saturday, September 25, 10am to 8pm; and Sunday, September 26, 10am to 6pm. To enrich the festival weekend, AMC Theatres Empire 25 will feature screenings of classic and recent 3D blockbusters. For an up to date schedule of screenings, please visit:

About The 3D Experience
The 3D Experience is committed to creating large-scale interactive programs that bring together leading minds, leading products and leading experiences. Event Partners for The 3D Experience include NASDAQ OMX, Best Buy, National CineMedia, IMAX, AMC and Discovery TSX. Sponsors include LG Electronics USA, Mitsubishi Digital Electronics America, Inc., 3ality Digital, Panasonic, NVIDIA, AT&T, Northern Lights Entertainment, 3D Eye Solutions, BodySound Technologies, Texas Instruments, RealD, 3DMedia, Jump 3D, Hello Charlie and Passmore Lab. Supporters include National Geographic Entertainment, Paramount Pictures, Red Bull Records, IMS Research and International 3D Society. The 3D Experience is produced by e5 Global Media, a diversified company with leading assets in the media and entertainment arenas. For more information and to register for The 3D Experience visit Connect with The 3D Experience on Facebook at and Twitter at

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About 3D & Digital Cinema

If you are a tech head, cinema-phile, movie geek or digital imaging consultant, then we'd like to hear from you. Join us in our quest to explore all things digital and beyond. Of particular interest is how a product or new technology can be deployed and impacts storytelling. It may be something that effects how we download and enjoy filmed entertainment. It may pertain to how primary and secondary color grading will enhance a certain tale. The most important thing is that you are in the driver's seat as far as what you watch and how you choose to consume it.