PRODUCTION ■ EUROPEAN 3D PRODUCTION ■ UPCOMING EUROPEAN PRODUCTIONS ■ KEY TECHNOLOGY


StreetDance 3D grossed more than $18m in the UK in 2010


Europe’s new frontier E


uropean film-makers and technicians are embracing 3D as never before. The producers, directors, visual-


effects experts and post-production practitioners converging on the Espace Pierre Cardin in Paris for the Parisfx digital creation event (December 15-16) are in bullish mood about what is still seen as an exciting new frontier in the business. As Olivier-René Veillon, director of


Parisfx co-organisers Ile De France Film Commission puts it: “There is now a real ecosystem which exists in 3D, espe- cially in 3D animation.” The question is whether European


producers can capitalise on the 3D boom. Their challenge is to seize market


■ 2 Screen International European 3D special 2010


share from the Hollywood majors. 3D titles may be riding high at the box offi ce but there are not many European titles among the 3D juggernauts even though many of the big titles were made in Europe and feature major contributions from European effects houses. These include Despicable Me (which was pro- duced by Chris Meledandri’s Illumina- tion Entertainment and made in France) and Martin Scorsese’s forthcoming Hugo Cabret (which was made largely in the UK). The balance is beginning to change.


“Europe is the second largest region now for the production of 3D content,” Charlotte Jones, senior analyst, cinema, at Screen Digest, observed recently. 3D production is markedly more


While Hollywood’s 3D juggernauts still hog the headlines, European producers are stepping up to embrace the rewards — and challenges — brought by the 3D boom. Geoffrey Macnab reports


‘A real ecosystem exists in 3D, especially in 3D


animation’ Olivier-René Veillon, Ile De France Film Commission


expensive than shooting in 2D. For independents, the economic logic is daunting. On a $5m feature, additional 3D costs will probably be $3m-$4m — almost double the budget. By contrast, on a $100m film, the additional costs will be around $15m, or 15% of the budget. The point is clear: 3D has a much more drastic impact on smaller budgeted fi lms. Is it worth taking the leap into 3D?


UK producer/distributor Vertigo Films’ spectacular success with StreetDance 3D shows the European independents can compete. In the first half of 2010, the fi lm grossed $18.3m (£11.5m) in the UK, 95% of which came from 3D. Citing the box-office performance of Lionsgate’s $100m-grossing horror fi lm My Bloody


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