POST-PRODUCTION EUROPEAN 3D POST OVERVIEW: ITALY Italy’s 3D post business has seen a slow start, but could be about to take off
With only a handful of theatrical 3D productions to date most Italian facilities are waiting until demand picks up, though Dario Argento’s Dracula — which shoots in January — could energise the local market. The fi rst Italian live action 3D
productions, Daimon and Cock-Crow, were shown at Venice last year. Victims, a 3D short directed by Anna Riitta- Ciccone and shown at the International Rome Film Festival, was post-produced at Genoa’s E-Motion. Consultant David Bush, who advised
E-Motion on its stereo investment, is doing a similar job for a major Rome post house. “The market is about to take off,” asserts Bush. “Producers are realising they can make 3D for fairly low budgets.” VFX boutiques AugustusColor and Umbrella VFX both have stereo-capable
POST OVERVIEW: EASTERN EUROPE Poland, the Czech Republic and Romania are all investing in 3D capacity Winx Club 3D: Magic Adventure
suites but Cinecitta Digital Factory, the post-production wing of Cinecitta, has invested most heavily. Its capability includes a Smoke 3D fi nishing suite and an XpanD-equipped screening room. It recently fi nished work on Italy’s fi rst CG 3D feature, the animated kids fi lm Winx Club 3D: Magic Adventure. “Currently, the number of 3D
projects in Italy are few, but those with chances of theatrical exhibition are all planned to be post-produced in Cinecitta,” says CEO Giuseppe Basso.
Poland’s fi rst live-action stereo feature Battle Of Warsaw 1920 is in post at Warsaw’s ATM Studio (where it was shot) and PAY Studio, which is also handling 3D dailies and visual effects. Lodz-based animator BreakThru Films has shot and edited The Flying Machine at local facilities including NoLabel and Alvernia Studios. Stereo and digital fi lm expert Fred
Meyers has an offi ce within Prague’s Avion Post and Film, outfi tted with a Pablo fi nishing suite and stereo 3D projection. “We’re planning to bring in the Kernercam 3D rig, along with resources from Band Pro Munich, to offer full 3D production capabilities in the Czech market,” says Meyers. Bucharest CGI specialist Umbrella,
which also operates in Italy, says the few 3D projects it has worked on are mainly for the architectural, 3D
Battle Of Warsaw 1920
commercials and product visualisation markets. “The demand for more in-depth realism is growing constantly and we are here to supply,” says CEO Alexe Razvan. Umbrella has invested heavily in computing power and claims to own Romania’s fi rst dedicated CG rendering farm. “We are included in realisation of 3D projects initiated elsewhere or partially produced here.”
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