3D: THE EUROPEAN PICTURE Cinema’s next dimension
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Editorial
Editor Mike Goodridge
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2 EUROPEAN 3D OVERVIEW Europe’s producers, directors and visual-effects and post-production experts are developing 3D projects and production capacity. There is excitement in all sectors of the continent’s film industry about a new frontier for the business
4 FORTHCOMING FEATURES The list of upcoming European 3D projects underlines the format’s versatility, covering children’s book characters, classic stories, ballets, thrillers, war movies and sports titles
8 PRODUCTION TECHNOLOGY The technical challenges involved in producing 3D images are driving a huge growth in available technology: from 3D camcorders to high-end production software and clever apps
13 EUROPEAN POST-PRODUCTION Europe’s post-production houses are investing heavily in the skills and technology needed on international and local 3D productions. Screen surveys the efforts and skills of individual post-houses across the continent
20 3D DISTRIBUTION AND EXHIBITION
3D has been a major boost for the industry — but how quickly is the 3D roll-out in cinemas taking place?
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23 3D EXHIBITION SYSTEMS A number of major manufacturers are now competing for a share of the exhibition market as the digitisation of cinemas gathers pace
European 3D special 2010 Screen International 1 n
movies Tron: Legacy, The Chronicles Of Narnia: The Voyage Of The Dawn Treader and Gulliver’s Travels. Those last two have been converted by Fox from 2D to 3D. Indeed, Warner Bros was in the middle of that conversion process for Harry Potter And The Deathly Hallows: Part 1 before abandoning it in October. Part 2, however, will come out next July in both 2D and 3D versions. 3D is a reality of post-Avatar studio movie-making:
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it has given a boost to the theatrical out-of-home expe- rience and increased box-office grosses with its pre- mium ticket price. Next year the phenomenon continues apace with new benchmarks no doubt to be
his holiday at the box office sees virtually all the season’s tentpoles in 3D — the animated films Tangled and Megamind, and three big effects
set by Steven Spielberg and Martin Scorsese who have shot their first films in 3D: The Adventures Of Tintin: The Secret Of The Unicorn and Hugo Cabret respectively. But 3D is not just the domain of the studios, and
international players have stepped aggressively into the arena — in Japan with Takashi Shimizu’s The Shock Labyrinth, in the UK with box-office smash StreetDance 3D, in France with a new Asterix movie, even in Poland with ambitious war film Battle Of Warsaw 1920. Screen’s European 3D supplement looks at every
aspect of Europe’s 3D revolution, from competing exhibition systems to the ever-refining production technologies, 2D to 3D conversion and the post houses which service Hollywood and independents alike. Mike Goodridge, editor
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