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post-production process. Phil Clapp, CEO of the UK’s Cinema Exhibitors’ Association, recently talked of the “dan- ger of 3D fatigue”. And as Rupert Pres- ton of UK producer/distributor Vertigo Films sees it, “There will come the stage when people won’t pay the premium for the 3D ticket price if the product is not very good.”


Market bottlenecks Despite the rapid growth in the number of digital screens across Europe, there are still logjams when too many 3D movies appear at once. In the UK, for example, it is crucial to secure a release date when the fi eld for other 3D fare is clear. When StreetDance 3D was released in the UK in May, it went out on around 350 3D screens (as well as around 50 2D screens). “The problem has been that the cin-


emas don’t have enough screens for 3D product,” says Preston. “For 3D to grow, the cinemas have to get in the digital screens as quickly as they can.” Another key question is where does


TV fit in? Is 3D on television eroding cinema audiences because the 3D expe- rience is no longer an exclusively big- screen phenomenon, or is it having the reverse effect? “TV might be the only reason 3D will


not fail in the movie theatres,” argues Stassen, pointing out how quickly the early 1980s revival of 3D faded. With 3D becoming part of the home


consumer experience, the format is putting down deeper roots than it did in either the 1950s (with titles such as Bwana Devil and House Of Wax) or in the era of exploitation fare such as Jaws 3D and Amityville 3D. The signs are that 3D will boost ancillary as well as theat- rical. Preston points out StreetDance 3D is already available in 3D on Sky TV and FilmFlex. And 3D Blu-ray is a growing force in the marketplace. “It may sound counter-intuitive but


we’re big supporters of 3D in the home because it provides another revenue outlet for the studios and fi lm-makers,” says Vue’s Richards. “Right now, 3D fi lms are effectively stopping after they leave theatrical. By creating another revenue source for fi lm-makers, it will serve the longevity of 3D.” 


s European 3D special 2010 Screen International 21 ■


‘Every major exhibitor in the UK is in the process of digitising their


Toy Story 3 took $113.2m at the UK box office 3D ALTERNATIVE CONTENT


3D presentations are drawing sports fans


circuits’ Tim Richards, Vue Cinemas


At the same time the Hollywood studios are spending hundreds of millions of dollars on big 3D movies such as Avatar and Toy Story 3, there is an alternative vein of 3D content. A 3D version of Handel’s Messiah, 3D medical fi lms, sporting events and rock music have all been made available in recent years. “We have a lot of business which is


PowerPoint presentation in 3D, medical operations in 3D... one of our biggest markets is education in 3D,” notes Ami Dror, XPAND’s chief strategy offi cer.


Dror points out that in the US alone,


there are 150,000 schools — and around 100 million globally — so the potential market is huge. XPAND’S 3D education ‘pack’ provides


X102 DLP-Link active shutter glasses, the Sharp PG-D2510X DLP Projector, a computer server and educational content which teachers can use. XPAND also creates its own specialist


3D productions. For example, the company this year shot Catwalk 3D, a movie about Paris Fashion Week.


SCREEN INTERNATIONAL GLOBAL GUIDE TO SOFT MONEY 2011


CZECH REPUBLIC


Philibert, a French-Czech co-production, was the first film to access the new Czech rebate


The territory’s new incentive was introduced this year — and despite a rocky start, it is attracting major international productions. By Theodore Schwinke


Prague, the Czech Republic’s incentive scheme, known officially as the Film Industry Support Programme, finally came into effect on June 21 this year. With its relatively low costs and world-class facilities and crews, the Czech Republic is already established on the international pro- duction landscape, hosting projects such as The Chronicles Of Narnia: Prince Caspian and Wanted in recent years.


A


But with competition so fierce both region- ally and internationally, the Czech industry is celebrating an incentive that has restored the territory’s ability to compete with other hubs, notably Hungary, for footloose international productions. The programme offers produc- ers rebates of 20% of eligible local spend,


fter months of deliberation by the Euro- pean Commission and years of political wrangling by various governments in


while select international spend — such as paying a foreign national for work in the Czech Republic — is eligible for a 10% rebate. The rebate is payable after a project has wrapped.


INWARD INVESTMENT FR


2002 2003 2004 2005 2006 2007 2008 2009


2010 (projected) 83


FEATURE FILM PRODUCTIONS IN THE CZECH REPUBLIC


MENT FROM INTERNATIONAL N THE


$251.2m $277.6m $85.2m $108.4m $75.8m $117.9m $39m $41.1m $50.3m


Source: Czech Audiovisual Producers Association ONAL


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