Bye Kai Tak 3-D book
Bye Kai Tak is a tribute to the now historic Kai Tak
Hong Kong International Airport. Published in stereoscopic
three dimensional format, this is a viewing of side by side
photos in pairs from a set of lenses incorporated in the book
cover. There are 48 stereoscopic photos printed in high resolution
300 lines/inch screen in total.
These exceptional pieces were taken by Hong Kong 3-D photographer,
Henry Chung during Kai Tak Airport's last two months of operation.
This set of photos made its debut in an exhibition entitled
The Last Days of Kai Tak in 3-D held at Pacific Place,
Hong Kong in May 1999.
These impressions of Kai Tak Airport show the close relationship
between the people of Hong Kong and the forever approaching
aircrafts during Kai Tak Airport's final days. The three dimensional
effect enhances this feeling and reveals the absurdity of
spatial relationship of the people in this modern city and
the low flying airliners.
It is unbelievable how low these planes were flying and how
close they came to the rooftops of the many Honk Kong homes
and businesses. Seeing it in 3-D brings the viewer to the
streets and skies of Hong Kong with awe-inspiring photography.
The book is loaded with great hyperstereo views of planes
landing and taking off as well as intimate photos of the people
and places in Hong Kong affected by the airport.
One of our favorite images in the book is plate 31, which
shows a jumbo jet sandwiched between two buildings looking
from Kowloon City Road. Chung had only seconds to capture
the plane in this position. From the book's description, "Passengers
flying in from abroad could easily understand from the view
of this short interval how well people used their space in
this city." We wonder if the passengers felt like the
low flying plane's wheels were going to brush the tops of
the buildings as it came in for a landing.
Chung's intimate and exciting 3-D images are definitely "Must
See 3-D™". The Good Bye Kai Tak book is
awarded a 3-D Review Online Magazine Must See 3-D™
Editor's Choice Award.
106 pages printed in color
3-D glasses embedded in the inside flap of the book cover
protected by cushion sheets
3-D Photos and English text by Henry Chung
Japanese text by Noriko Kanazawa
Chinese text by Freddie Wong
The book costs $35.99 ($25.99 + $10), which includes Standard
Air Mail Shipping Worldwide. To order the book, send payment
through Paypal at firstname.lastname@example.org. For more information,
You can contact Cinematographer Henry Chung at 60 King’s
Road, 23/F, Flat C, North Point, Hong Kong, China. Telephone:
852-2856-1685, Pager: 852-7102-6872, Mobile: 852-9233-6788,
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Center of Art and Photography presents The Magic of View-Master®
starting April 12, 2007
3-D Center of Art and Photography is excited to announce the
upcoming exhibition, The Magic of View-Master®,
opening Thursday, April 12. This show will include a history
of the View-Master® company as well as many pieces of
View-Master® history and paraphernalia.
A highlight of the exhibition will be original clay sculptures
by View-Master® sculptor, Joe Liptak. Mr. Liptak was one
of the main artists for View-Master® and sculpted sets
and figures for such reels as The Jungle Book, The Flintstones
The 3-D Center will host two evening discussions
about the View-Master® company with Mr Liptak and Rich
Dubnow, owner of Image3D.
The Magic of View-Master® art exhibit
will be on display from April 12 through May 27, 2007.
During the same time, the 3-D Center will present
a special View-Master® Through the Ages show
in the Stereo Theatre.
This digital 3-D slide show will take the viewer
on a tour through the various themes of View-Master® reels,
from the early productions through present-day reels.
The 3-D Center of Art and Photography, a non-profit
museum and gallery, features the best in antique and contemporary
3-D imagery. The 3-D Center houses everything from antique
stereocards to View Master, contemporary 3-D photography,
lenticulars, anaglyphs and computer generated 3-D art.
For 160 years, the world of 3-D imagery has been diverse
and exciting. Display cases allow visitors to see vintage
3-D cameras, projectors and viewing devices as well as the
most up to date 3-D cameras on the market today. Information
panels follow the history and development of 3-D photography
from its early use to chronicle the American Civil War to
its current use in the Space Program.
Each month different featured artists provide a glimpse into
the contemporary world of 3-D. Original contemporary art may
be viewed and purchased. Daily 3-D slideshows allow the visitor
to slip into the amazing world of depth.
Interactive displays explain how we are able to see depth
and create a 3-D image on a flat surface. Stereocards like
those that entertained our grandparents are available for
viewing, and only a few steps away a computer station allows
visitors to see another modern approach to seeing in 3-D.
Admission to the 3-D Center is $4 adults (over
12) and $7 for families. First Thursdays are FREE for everyone!
"Friends of the Center" are always free.
The 3-D Center of Art and Photography is located at 1928
NW Lovejoy in Portland, OR 97209. Call (503) 227-6667. Visit
their Web site at www.3dcenter.us.
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going 3-D in 2009
Animation SKG Inc. announced its intention to produce all
of its films in stereoscopic 3-D technology starting in 2009.
To best take advantage of the technology, the company will
now be creating films using stereoscopic 3-D from the beginning
of its creative process.
“I believe that this is the greatest opportunity for
movies and for the theatrical exhibition business that has
come along in 30 years,” said Jeffrey Katzenberg, Chief
Executive Officer of DreamWorks Animation. “Advancements
in sound have dramatically improved the auditory experience,
but there hasn’t been a corresponding breakthrough in
the way we see movies until now. Stereoscopic 3-D technology
gives us a real opportunity to significantly enhance the theatre
To date, most films shown in 3-D have been created for traditional
projection and then rendered into 3-D in post-production.
In order to take full advantage of the new technology, DreamWorks
intends to make films with the stereoscopic 3-D concept in
mind from the beginning of the production process. The company
believes that this approach will increase its storytelling
opportunities and create a more immersive movie-viewing experience.
“Historically, 3-D has been used primarily as an add-on
or a bonus feature,” Katzenberg said. “And while
audiences have enjoyed that, they haven’t really seen
the true potential of this technology. We’re going to
use the latest stereoscopic 3-D technology to build our movies
from the ground up. We believe that this will create more
opportunities for our artists as well as more compelling experience
for the audience.”
The growth in the number of theaters capable of projecting
3-D films has dramatically risen in the past two years. It
is expected by 2009 that there will be several thousand screens
equipped for 3-D. DreamWorks Animation believes that the rapid
deployment of digital cinemas by exhibitors around the world
and the latest technology developments will allow the company
to take advantage of this new platform. The company has started
production on its first film in this format, Monsters
vs. Aliens (working title), intended for release in summer
“I believe CG animation is in the best position to
take advantage of the latest advancement in 3-D technology,”
said Katzenberg. “Since our films are made digitally,
it presents numerous opportunities for our filmmakers. And
by moving into this area now, DreamWorks Animation is developing
expertise that will differentiate our films and provide a
lasting competitive advantage.”
The exhibition industry sees a major opportunity from this
“Theater owners are excited by this technology because
it not only provides a more special movie-going experience
but also a meaningful growth opportunity as research suggests
more people come to see 3-D movies, and ticket pricing has
more flexibility,” said Jim Tharp, President of Distribution
for Paramount Pictures, distributor of DreamWorks movies.
“The advancements in home entertainment products, especially
flat-screen TVs, have made it more important than ever that
exhibitors offer a unique and special theatrical experience,
3-D does that in a big way and film goers have already seen
that this can be a premium experience.”
DreamWorks is assembling a world-class team to drive its
stereoscopic 3-D vision.
Jason Clark, who most recently was Executive Producer on
Monster House 3-D and Jim Mainard, who for many years
was the head of DreamWorks Animation's Research and Development,
will both be leading the launch of DreamWorks Animation’s
stereoscopic 3-D efforts.
Phil McNally, Stereographer on Chicken Little and
Stereographic Supervisor on Meet the Robinsons, will
be the Stereographic Supervisor on DreamWorks Animation’s
first stereoscopic 3-D movie, Monsters vs. Aliens.
“I’m thrilled to welcome Phil and Jason to the
DreamWorks team,” Katzenberg said. “Along with
Jim, we will have tremendous leadership for this initiative.
By combining their talents and expertise with our resources
and commitment, I believe we will be able to tell better stories
and create a totally new and special experience for movie
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Meet the Robinsons in 3-D opens March 30
latest 3-D movie has hit the silver screen. Disney's Meet
the Robinsons is now showing in over 600 theatres. The
movie's slogan, "Have the time travel of your life"
could also be "Have the 3-D experience of your life,"
Disney has used the 3-D medium to great advantage
in the film. The depth of the movie changes during certain
scenes to highlight the emotional feeling being experienced
by the characters while immersing the audience at the same
Meet the Robinsons is preceeded by
showing the old Mickey, Donald and Goofy short Boat Builders
in the beginning. According to reports, Disney wants to start
putting original animated shorts before their feature films
again. It's great to see one of those on the big screen again
and the kids in the audience apparently loved it.
Lewis is a brilliant inventor with a surprising number of
clever inventions to his credit. His latest and most ambitious
project is the Memory Scanner, a machine that will help him
find his birth mother so they can become a family. But before
he can find her, his invention is stolen by the dastardly
Bowler Hat Guy and his diabolical hat and constant companion,
Doris. Lewis has all but given up hope when a mysterious stranger
named Wilbur Robinson whisks our bewildered hero away in a
time machine and together they team up to track down Bowler
Hat Guy in a showdown that ends with an unexpected and unbelievable
twist of fate.
For some online fun, visit Disney's interactive
Meet the Robinsons Web site at www.meettherobinsons.com.
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vs. Aliens in 3-D
first movie DreamWorks Animation will release in 3-D is Monsters
vs. Aliens, which looks like it will be an homage to
Asian monster movies.
Monsters vs. Aliens will be the first
film to create two separate films (2-D and 3-D) from the outset.
Monsters vs. Aliens, previously titled
Rex Havoc, follows an alien invasion of Earth and
a monster hunter, Rex Havoc, who enlists some of his former
foes, Ick!, Dr. Cockroach, the 50,000 Pound Woman and Insectosaurus
to help battle the aliens.
Monsters vs. Aliens is based on a black-and-white
comic book originally titled Rex Havoc Raiders of the
Fantastic. Rex Havoc was a title from Warren
Publishing from 1984 to 1994. The team had an emblem of a
boot print superimposed over a pair of butt-cheeks.
The story consisted of Rex Havoc and his team
of experts out to kick the crap out of ghouls, ghosts and
the like. Their leader is Rex, a fearless adventurer, who
manages to lead the team despite severe brain damage brought
on by a golf club-wielding vampire sneak attack. The film
is about Rex and the Ass-Kickers being called upon to battle
aliens that have knocked out TV service.
Imagine a cross between Indiana Jones
and Buckaroo Banzai and you've pretty much got the
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4 in 3-D
Animation is anxiously awaiting the release of Shrek the
Third. The sequel will be out in a month. Now the studio
must wait and put out the planned fourth installment of the
green ogre as Shrek 4 in 3-D.
If a 3-D Shrek title sounds familiar, you may remember the
short film shown at Universal Studios and then released on
DVD a few years back, even before Shrek 2 came out.
(See the July
2005 issue of 3-D Review Online Magazine for more.) The
IMDb labels the film as Shrek 4-D. Of course, it
was made before the current Real D 3-D technology was being
used You may even remember that the first Shrek was
supposed to be shown on IMAX in digital 3-D (anaglyphic).
The fact that the 3-D plans for the original Shrek
fell through and the fact that 3-D technology is now suddenly
different are both likely reasons why DreamWorks didn't want
to convert its movies to the format sooner. There is currently
great support for Real D's production and projection tools,
but it will still be awhile before enough theatres are equipped
with the projection equipment to make for widespread appreciation.
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Center of Art and Photography News is available online
3-D Center of Art and Photography, located in Portland, Oregon,
has made back issues of their newsletter available online.
Click on the links below to find out more about the 3-D Center's
past activities. All of the 3-D Center's newletters are posted
in Adobe® Acrobat® PDF format.
Admission to the 3-D Center is $4 adults (over 12) and $7
for families. First Thursdays are FREE for everyone! "Friends
of the Center" are always free.
The 3-D Center of Art and Photography is located at 1928
NW Lovejoy in Portland, OR 97209. Call (503) 227-6667. Visit
their Web site at www.3dcenter.us.
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Aquarium Presents 3-D Film About Dinosaurs
Tennessee Aquarium IMAX 3-D Theater promises to bring you
face to face with some of the most thrilling animals the earth
has ever seen with the film Dinosaurs Alive! 3-D,
which opened March 30. Dinosaurs Alive! 3-D is a
global adventure of science and discovery, featuring the earliest
dinosaurs of the Triassic Period, to the monsters of the Cretaceous
brought back to life in stunning IMAX realism.
Shot on location, from the exotic sand dunes of Mongolia’s
Gobi Desert to the dramatic sandstone buttes of New Mexico,
the film follows American Museum of Natural History paleontologists
as they explore some of the greatest dinosaur finds in history.
3-D magic brings these creatures to life in a huge way with
the help of some awesome computer-generated animation.
Beginning in the 1920s, AMNH scientist and adventurer Roy
Chapman Andrews, who is believed to be the inspiration for
the Indiana Jones character, led five expeditions to the Gobi
Desert. Andrews and his team found hundreds of dinosaur remains,
many new to science, including the first Velociraptor. Andrews
also happened to take a Hollywood cameraman along with him
to film the expedition’s discoveries. This rare and
beautifully preserved footage, juxtaposed against the large-format
footage of today’s expeditions, provides audiences with
a unique perspective into field paleontology over time.
The dinosaurs are the real stars though, and it takes a giant
screen like IMAX to make these creatures seem so real. One
of the most dramatic scenes features a Velociraptor and a
Protoceratops locked in mortal combat. A six-story screen
isn’t nearly large enough for Tarbosaurus, the towering
Asian counterpart of the T-Rex. The ground almost shakes as
Seismosaurus or “thunder lizard” fills the screen
with its 30-ton body. Audiences will learn which dinosaurs
traveled in herds, which made nests, which were the predators
and which were the hunted, along with other surprising behaviors.
More fossils than ever are being found today. While there
have been great discoveries over the last century, the scientific
quest to find and understand dinosaurs and the world they
inhabited is ongoing. Dinosaurs Alive! 3-D estimates
that we’ve discovered less than two percent of all the
dinosaur species that once lived. For young paleontologists,
the adventure is just beginning, and this spellbinding new
film is sure to spark imaginings of what mysteries still lie
buried beneath our feet.
Dinosaurs Alive! 3-D is a production of David Clark
Inc., Giant Screen Films, the Maryland Science Center and
Stardust Blue, in association with the American Museum of
Natural History. The film is written and directed by two veteran
filmmakers, Academy Award-nominated Bayley Silleck and Emmy
Award-winning David Clark, with cinematography by Bill Reeve.
Dinosaur animation was created by DamnFX, whose artists have
previously created dinosaurs for Discovery Channel
specials. Major funding was provided by the National Science
Foundation with additional support from the Museum Film Network
and the 3-D Film Interest Group.
Tennessee Aquarium is located at One Broad Street in Chattanooga,
TN. Call toll-free at 1-800-262-0695 or (423) 265-0698.
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Stefani's Wind It Up in 3-D
Records and director James Cameron have partnered to
produce a series of 3-D presentations that will include commercials
to be shown before concert films in theaters and 3-D concerts.
A little past the two-minute mark, the music
video for Gwen Stefani’s recent single, Wind It
Up, finds her chained to a fence while a flurry of bubbles
and snowflakes float by. Filmed in 3-D, it is a dreamlike
moment in which the flurry seems close enough to touch.
The video begins with Stefani yodeling, a homage to The
Sound of Music, one of the her favorite films. The idea
of adding the bubbles and snow came from James Cameron, the
director behind effects-laden hits like The Terminator
and Titanic, who visited Stefani’s set last
October and shot a separate version of the video with 3-D
“I had mentioned to the director that any kind of atmospheric
effects like snow or rain usually play in 3-D,” Cameron
recalled. While Wind It Up was not initially planned
as a 3-D video, Stefani probably won’t be the last recording
artist to follow Cameron’s lead.
As part of a newly created venture, Cameron is working with
Jimmy Iovine, the chairman of the Interscope Geffen A&M
record label, to produce music films, concerts and other content
in 3-D to show in specially equipped theaters. Iovine and
Cameron hope to deliver their first production by summer.
The two acknowledge that they have yet to work out many details:
they say they don’t know how many productions will be
created or which artists will be featured, but the idea has
been discussed with Interscope artists including Marilyn Manson
and Nine Inch Nails. Many music fans may be too young to recall
the last time 3-D was in vogue: the 1980s, when hordes donned
flimsy multihued glasses to watch Jaws 3 and other
But the latest version of the technology has Hollywood buzzing
again, particularly since 3-D showings of animated fare like
Chicken Little have racked up impressive sales. Cameron
is at work on a $200 million 3-D feature titled Avatar.
Iovine and Cameron are aware of the odds of changing consumer
behavior. They are wagering that fans will be willing to trek
to a movie theatre and pay perhaps a few dollars more than
the price of a regular ticket to see their favorite stars
on the big screen and in 3-D. The glasses now resemble standard
sunglasses, and musicians may be able to make their own designs.
The venture, led by the film producer Gene Kirkwood, also
represents a distinctive take on what both the music-video
and the concert can be. If it works, the partners said, fans
could experience a concert as if they were on stage next to
U2’s guitarist, the Edge, or see the members of Kiss
in full makeup perform a pyrotechnic show seemingly right
in front of them, all for a fraction of the price of seeing
a headline act on tour.
“What it does is put you, the audience, right there
with the performer onstage, in their creative reality,”
Cameron said recently during a break in production from Avatar.
“The whole idea of a concert may change.”
Iovine and Cameron have discussed with executives at Harrah’s
Entertainment setting up a night club in Las Vegas where visitors
would be surrounded by 3-D images and watch 3-D performances,
though no deal has been struck.
Iovine also said that 3-D performances could become a new
way for artists to build ties to their fans and generate much-needed
revenue for the ailing music business.
“The record industry has to have lots of different
revenue streams, and this just looks like one that’s
creatively cool,” Iovine said. “And you can’t
download it. You can’t get it anyplace else.”
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All-Star Game presented in first private screening of a live
3-D sports event
February 2007, the first private screening of a live NBA All-Star
game in a theatrical environmental took place. The special
screening for 600 invited guests at the Mandalay Bay in Las
Vegas will form part of a trial with the NBA in partnership
with Pace Technologies. Pace Tehcnologies is the company founded
by director James Cameron who has been particularly active
in the 3-D genre.
The event used five Pace Fusion 3-D cameras,
four at courtside and one overhead, and a special 3-D control
room at the arena. The cameras were assembled by Pace from
two standard 1080i HDTV cameras. Each camera had two operators:
a standard camera operator plus a second to control convergence
of the two cameras. Two separate HD feeds sent the video to
the projectors in the Mandalay Bay.
At the projection booth, Real D's Z-filter active
polarizing system was fitted on two specially adapted Sony
4K projectors, and the audience were required to wear light
weight passive glasses. LCOS (liquid crystal on silicon) technology
used by Sony, is not yet compatible with 3-D projection with
one unit, because it has a slower switching speed between
right and left eye images than DLP Cinema, so a two projector
model was used instead.
Vincent Pace, CEO for Pace, said "The technology,
innovation and creativity of 3-D HD capture the excitement
of the NBA and allow viewers to experience NBA All-Star like
never before." In addition to working with the NBA, Pace
provided the 3-D technology to James Cameron for his upcoming
3-D film Avatar.
Human stereoscopic vision loses its effect beyond about 50
feet or so. According to Steve Hellmuth, Senior Vice President
of Operations and Technology for NBA Entertainment,"
The spectacular view of our game from a courtside seat, the
closest to the field of play in any sports, is replicated
in this groundbreaking 3-D HD experience we are unveiling
for NBA All-Star."
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to be Seen' (MTBS) releases Stereoscopic 3-D Programming Guide
to be Seen" (MTBS), a new Stereoscopic 3-D advocacy,
certification and discount organization, has successfully
released its first Stereoscopic 3-D Programming Guide at the
recent Game Developers Conference. It is now available as
a free download at /www.mtbs3d.com.
Stereoscopic 3-D solutions offer visible depth through two-dimensional
media. This is a huge breakthrough in videogame technology
because it adds an intense immersion and thrill to otherwise
ordinary games. Examples include munitions flying outside
the screen, realistic awe-inspiring explosions and characters
seem to reach out and touch the player. In a competitive field
such as videogame development, this is a benefit that today's
game publishers can't afford to overlook.
"The release of this guide was very successful and very
much needed. The last Stereoscopic 3-D programming guide was
released by NVIDIA in July 2004, so the industry was due for
an update. Based on resources from NVIDIA and third party
expertise, this document is an invaluable tool for game publishers
who are trying to stay competitive," said Neil Schneider,
President and CEO of Meant to be Seen.
Independently run, MTBS represents the interests of end consumers
and providers of stereoscopic 3-D solutions including LCD
shutter glasses, Polarized Monitors, Auto-Stereoscopic Monitors,
Head Mounted Displays (HMD), Stereoscopic Projection Systems
and future technologies. To aid game purchasers in making
informed buying decisions, MTBS will be certifying games both
in the market and in development according to the level of
stereoscopic hardware compatibility.
The MTBS guide works for most hardware solutions, and enhancements
include recommended programming calls, problem workarounds
and additional criteria that will help widen Stereoscopic
3-D compatibility in games.
"The success of the MTBS guide went beyond our expectations,
iZ3D is pleased to be involved with the Meant to be Seen organization.
We ran out of MTBS guides the first day of the show, and thanks
to some fast photocopying, there are almost a thousand programmers
who now have the competitive advantage of knowing how to program
for stereoscopic 3-D," said David Chechelashvili, VP
of Marketing for iZ3D LLC.
iZ3D is the first company to provide an unrestricted education
grant to help make this organization possible, and the industry
is looking forward to the new 22" iZ3D monitor release
in May. As an added incentive, the new 22" iZ3D monitor
will be discounted for MTBS members by almost 20 percent ($180
off the current retail price of $999).
"Meant to be Seen" is also expecting initial videogame
certification results in the near future.
"I'm getting a lot of e-mails about certification results
from members, so please visit our Web site regularly for updates.
It's a very stringent process with many game developer benefits,
so it's very important we do this right the first time,"
Stereoscopic 3-D gamers are the most valuable players in
today's market because they spend thousands of dollars on
computer systems for the purpose of playing videogames. When
game developers earn certification, MTBS will officially award
and certify the work as safe Stereoscopic 3-D compatible purchases,
and provide a complementary ad campaign on www.mtbs3d.com.
All videogame players and developers are encouraged to register
for free at mtbs3D.com. Members benefit from industry news,
technical support and current certification standings. MTBS
subscribers will also have eventual involvement in the videogame
certification process. New advisory board members are also
being interviewed for participation opportunities, and interested
parties can apply through the Meant to be Seen Web site.
To learn more about MTBS, visit www.mtbs3d.com. You can contact
Neil Schneider, President and CEO of Meant to be Seen at (416)
240-1679 or e-mail neils@mtbs3D.com.
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Dolby 3-D Digital Cinema at ShoWest 2007
ShoWest in Las Vegas, Dolby Laboratories Inc. unveiled details
of its new Dolby® 3-D Digital Cinema technology, designed
to provide consumers with an impressive 3-D experience.
"Dolby built its reputation on producing innovative
cinema presentation technology like Dolby Digital Cinema.
Dolby 3-D Digital Cinema is an exciting addition to our digital
cinema solution," said Tim Partridge, Senior Vice President
and General Manager, Dolby Laboratories. "Although we
are in the early stages of testing Dolby 3-D, we are very
happy with the way it looks to date."
Dolby 3-D provides exhibitors and distributors an efficient
and cost-effective 3-D solution. The ability to use a white
screen gives exhibitors a cost advantage, as no special equipment
associated with a "silver screen" is required. The
ease of shifting from 3-D to 2-D as well as moving the film
between different size auditoriums provides compelling flexibility.
Dolby 3-D uses a unique color filter technology that provides
a very realistic color reproduction. Dolby 3-D also provides
extremely sharp images delivering a great 3-D experience to
the audience from every seat in the house.
The Dolby 3-D solution uses the white screens installed in
most theaters today as well as standard digital cinema projectors,
eliminating the need for a dedicated 3-D auditorium. The solution
simply adds a retractable color filter wheel accessory to
the digital projector. Furthermore, the filter wheel automatically
moves away from the light path when switching from 3-D to
2-D digital cinema presentations. Leveraging Dolby Digital
Cinema technology, exhibitors easily can transfer movies down
to a smaller auditorium later in the movie's run.
Dolby 3-D Digital Cinema works with comfortable and lightweight
passive viewing glasses that require no batteries or charging.
Initially, 3-D glasses will be reusable, eliminating the need
to reorder glasses and minimizing environmental impact. In
the future, Dolby expects to offer the option of disposable
glasses that the moviegoer can keep as a souvenir.
Unique to the Dolby 3-D solution, the technology also simplifies
the process of creating and distributing 3-D movies. There
is no need for extra color correction or other compensation
processes in postproduction, as all processing is performed
in the server. This innovative approach not only saves time
and money, but it simplifies the overall process as the color
correction is the same for both 3-D and 2-D digital cinema
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D Continues Rapid Expansion by Bringing 3-D Cinema Experience
to Nearly 700 Installed Screens Worldwide
D, the leader in the delivery of premier digital 3-D experiences,
announced new agreements with Regal Entertainment Group, AMC
Entertainment Inc., Cinemark and several other exhibitors
to license additional locations with REAL D Cinema technology.
This brings the installed total to more than 680 screens,
nearly triples the REAL D-installed global footprint and surpasses
the company's stated goal of 500 locations by March 30, in
time for the release of Disney's animated feature Meet
With the added participation of these top exhibitors, moviegoers
in nearly every major city in the U.S. and 13 other countries
around the world will now be able to enjoy the REAL D experience.
"We are thrilled to bring even more audiences the REAL
D experience," said Joseph Peixoto, president, Worldwide
Cinema at REAL D. "This rapid uptake by exhibition market
leaders is a clear signal to the industry that REAL D 3-D
is the future of moviegoing."
The expansion of the REAL D platform includes the following:
- Regal Entertainment Group currently operates 34 REAL
D Cinema screens and will be adding an additional 75 screens
- AMC Entertainment Inc. is adding 104 to its current 13
- Cinemark is adding another 16 to its 20 screens
- Rave Motion Pictures is adding five screens
- Cinemas Lusomundo (Portugal) is installing eight screens
- Village Roadshow (Greece) is installing two screens
Further global expansion will include screens in Iceland
and Ireland, expanding REAL D's presence to 14 countries.
Ballantyne of Omaha, Christie Digital Systems, Technicolor
Digital Cinema and Doremi Cinema contributed to the most recent
expansion of the digital platform.
"The expansion of REAL D screens to nearly 700 is a
significant milestone to the enhancement of the moviegoing
experience domestically and abroad," stated Chuck Viane,
Disney's head of domestic distribution. "We at Disney
have received an incredible response to our films on the REAL
D platform and we're especially looking forward to our next
film, Meet the Robinsons, in Disney Digital 3-D™.
It's a pleasure working together with the folks at REAL D
through this incredible time of growth and innovation in the
exhibition business that benefits movie lovers everywhere."
"Interest in the Digital 3-D presentation stimulates
moviegoing at our theatres across the country. REAL D is delivering
a high quality and unique experience," stated Michael
L. Campbell, chief executive officer of Regal Entertainment
Group. "We look forward to partnering with REAL D and
Disney to offer Meet the Robinsons in 3-D at over
100 Regal Entertainment Group theatres."
Shamrock Capital Growth Fund Invests In REAL D 3-D
Michael Lewis, chairman and CEO of REAL D, and Stephen D.
Royer, managing director of the Shamrock Capital Growth Fund,
announced that Shamrock, the Burbank-based, private-equity
firm, is investing $50 million in REAL D, the leader in digital
3-D technology. Further terms of the deal were not disclosed.
The financing round from the Shamrock Capital Growth Fund
will fund the rapid development of REAL D’s delivery
systems and support its leadership in delivering lifelike
visual images for cinema and beyond. Earlier this month, REAL
D announced its acquisition of Boulder, Colorado-based ColorLink,
one of the world’s leading inventors and suppliers of
photonics-based solutions. This acquisition will significantly
enhance REAL D’s product offerings and production capabilities.
REAL D is bringing the premier digital 3-D experience to
cinemas worldwide. With over 700 screens in 14 countries currently
and 1,000 screens expected later this year, REAL D has the
world’s largest 3-D platform.
“The Shamrock Capital Growth Fund looks for exceptional
opportunities among key domestic media, entertainment and
communications companies,” stated Royer. “The
3-D market is at a point of explosive growth, with the rapid
adoption of REAL D’s technology by leading theater owners
combined with a strong commitment from the studios and an
expanding pipeline of 3-D content in production. We believe
that REAL D, as an industry leader, will continue its successful
brand expansion, and we look forward to facilitating their
continued success in energizing the 3-D marketplace,”
“We are delighted with this partnership and the significant
investment from Shamrock. Their support will be instrumental
in REAL D’s exponential growth,” stated Lewis.
“Shamrock’s confidence in our platform and business
model is a clear message to the industry and consumers that
next-generation 3-D is already here and is becoming increasingly
available at movie theaters and cineplexes in the U.S. and
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Lipton hosts online video tour about the REAL D digital 3-D
wonder what the REAL D headquarters looks like. Now you have
your chance. In an online video, Lenny Lipton, Chief Technology
Officer for REAL D, takes you on a behind the scenes look
in the Clarity Theatre and projection room.
Lenny Lipton was born in Brooklyn, New York,
and graduated from Cornell University where he majored in
Lipton founded StereoGraphics Corporation in 1980, and created
the electronic stereoscopic display industry. He is the most
prolific inventor in the field and has been granted 30 patents
in the area of stereoscopic displays. In 1996, Lipton received
an award from The Smithsonian for this invention
of CrystalEyes®, the first practical electronic stereoscopic
product for computer graphics and video applications.
Lipton has written many articles on the topic of imaging,
and he has been a contributor to national magazines such as
Popular Photography and American Cinematographer.
Lipton is a member of The Society for Information Display,
the Society of Photo-Instrumentation Engineers and he was
the chairman of the Society of Motion Picture and Television
Engineers working group, which established standards for the
projection of stereoscopic theatrical films.
Lipton independently produced 25 films, which are in the
collection of the Pacific Film Archive of the University of
California. His films have been shown on PBS, Italian Television
and the BBC. In his role as a filmmaker, on two occasions,
he was a representative of the U.S. Department of State to
countries in Latin America.
Lipton has written four books, three of which were published
by Simon & Schuster, including Independent Filmmaking,
which was the standard text on the subject for 20 years. In
1982, Van Nostrand Reinhold published his book, Foundations
of the Stereoscopic Cinema.
At Cornell Lipton wrote the poem that became Puff the
Magic Dragon, one of the most enduring and beloved popular
songs. He lives in Los Angeles with his wife, three children,
two dogs, cat and bird. (Source: www.reald.com)
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Vision Entertainment Inc. announced that they have joined
forces with Adirondack International Pictures Inc. (AIP) to
produce Horrorween 3-D. Horrorween has a fully funded
production budget of $10 million. Approximately $1 million
has been spent to-date on pre-production.
The deal calls for Stereo Vision to provide
its 3-D film production team, and be the lead theatrical 3-D
distributor. Stereo Vision's principal partner Baywatch
co-creator Doug Schwartz, has been appointed Executive Producer.
Stereo Vision is to receive 50 percent of the net earnings
of Horrorween 3-D.
Stereo Vision's Chief Executive Officer, Jack Honour, stated,
"We're thrilled to join Ed Meyer and his Horrorween
crew including Horrorween director, Industry veteran
Joe Estevez, and Horrorween star, Chuck Lamb, the
famous "Dead Body Guy", for the metamorphosis of
AIP's unique and innovative feature film Horrorween,
into the soon-to-be cult classic "Horrorween 3-D".
"With 3-D feature films being all the buzz and getting
recognition at the Industry's highest levels, the timing of
Horrorween 3-D couldn't be better," Honour said.
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Here are a few 3-D auction results from the past month
A 1933 "A Century of Progess" Tru-Vue viewer
with filmstrips sold for $115.05 with 14 bids. The sale
contained two viewers with one being the 1933 viewer,
which was unfortunately missing a lens. Some of the
filmstrips were also Century of Progess titles and a
Sally Rand Fan Dance filmstrip. In all, there were 17
filmstrips in the sale.
A View-Master® Han-Sur-Lesse ses grottes packet
sold for $12.50 with three bids. This View-Master®
packet, No. C3636, from the Belgium manufacturing plant
is not listed in any of the View-Master® collector's
A Leitz Votra stereo viewer with case sold for $536
with 26 bids.
A 1978 View-Master® store display featuring KISS
and Mork and Mindy sold for $52.01 with 15 bids. The
17-inch store display has Mork & Mindy on one side
and KISS on the other side.