NY Public Library turns stereographs into animated GIFs, reminds your 3D TV of its roots -- Engadget

Digging your 3D TVs, video game consoles and laptops? Thank the past -- the New York Public Library is here to remind you that streographic entertainment has been blowing minds for over 100 years, and has the animated gifs to prove it. The Library recently introduced Stereogranimator, a web app that taps into the institution's large collection of historical stereographs and allows user to convert them into wiggling GIF animations and 3D anaglyphs. The program was inspired by "Reaching for the Out of Reach," a manual labor of animated stereographs started by San Francisco artist Joshua Heineman. The library currently has over 40,000 pairs of stenographic images just begging to be converted to depth-suggesting wigglepic. Interested? The link is below, friends -- go ahead and create your own psudeo-3D view of history. Too lazy to make your own? Fine, read on for a shaky and colorful look at an orange tree.

Laser focus: With new technologies, Barco proposes premium cinema experiences for all

Preparing the Barco demo at Moody Gardens

“It is important that the market gets a good view and perspective on what is possible and coming,” Wim Buyens tells Film Journal Internationalabout the newest technology on hand and latest developments in store for cinemas at Barco. “We want to show people what is possible right now, and let them feel and envision the possibilities. Then, later on, we will present them with different solutions tailored to the types of auditoriums that they have.”

Buyens, senior VP of the company’s globalEntertainment Division, which covers events, corporate A/V, digital cinema and more, exclusively briefs our readers about a company-wide effort for providing “premium-screen” solutions. “It’s a combination of visuals and audio together that creates the most immersive experience,” he elaborates. “We are making sure that the bundling is flexible, dependent on the size of screen and what our customers want.” After all, for Barco, great and immersive technology is not “just for a few customers, but for all exhibitors who want to invest in a special experience. We believe that every cinema will have premium-experience screens, not in all their auditoriums but in several of them. It is definitely a broader focus and market than just large-format exhibitors alone.”

Nonetheless, the largest of screens are a great place to start when it comes to showing off innovations and improvements. Enhanced 4K DLP Cinema 3D (http://scr.bi/barcodcin), Auro-3D multi-channel and truly multi-dimensional sound (for access to Barco’s White Paper, go to http://scr.bi/barcoauro3d), along with projection at higher frame and higher compression rates (very smartly dubbed “ultra-reality), are all part of the package. And then, shining brightly in the not-so-far-away future, we are looking at the amazingly promising light output from laser sources.

The Jan. 9 world premiere of a fully functional laser-illuminated prototype projector was far from the only first that the Barco team of engineers and designers from Belgium, along with their North American colleagues in sales and marketing, showcased in Galveston, Texas. The “full complement of immersive digital-cinema innovations driving the future of cinema” included the first demonstration of true DLP Cinema Enhanced 4K resolution 3D, the first 3D comparison of high-frame-rate content (48/60 fps and at various compression rates), the first 4K digital versus 15/70 film “shootout” at full 4:3 giant-screen aspect ratio, and the first-time integration of Auro-3D sound into a large-format film venue. And you’re reading about it all here first in FJI.

Barco co-presented the Moody Gardens Digital Cinema Symposium jointly with the generous hosts at the public, nonprofit, educational facility that lends its name (www.moodygardens.com), and with D3D Cinema, the Chicago-based provider of complete digital solutions and services to the museum and attraction industries worldwide.

For the second year in a row, industry experts with an interest in giant screens—from the institutional and destination segments as well as from general theatrical exhibition—gathered in front of the 60 by 84-foot main screen (18.3 m x 25.6 m) of the MG3D Theater, which hosts some 275,000 visitors at 3,000 shows annually. Dubbed “the largest in Texas” for 3D, Moody Gardens recently switched from branded 15/70 film projection to a Barco-projected and polarized, 3D-enabled, Qube-served digital solution.

In another industry first, one Qube XP-I server and two Xi 4K IMBs in Barco DP4K-32B projectors delivered a single, high-bit-rate, stereoscopic 4K DCP.

Even before any discussions of sight and sound enhancement, Moody Gardens general manager Robert Callies made his case for “the value and savings of moving to digital.” At the opening-day panel, Callies brought numbers for backup. MG3D attendance was up some 20% because of a higher turnover of films over the course of a day and from the expansion of traditional offerings into new content. In addition to savings on print, shipping and staff costs similar to (and sometimes higher than) those experienced by commercial theatrical exhibition and distribution, licensing costs connected with branding also fell, with electrical dropping as much as 70% over the heavy-duty 15/70 equipment, he noted.

Not too surprisingly then, event moderator Toby Mensforth of Mensforth & Associates assured attendees that “unless you have lived in a giant-screen cave, digital is here and the future looks bright.”

That future already exceeds 55,000 ANSI Lumens, but Todd Hoddick, Barco’s VP for entertainment, North America, was even more precise in his outlook. After holding Guinness world-record status as the brightest single projector with 43,000 ANSI Lumens since December 2010, Barco has upped more than the amperage. New bells and whistles include high frame rates; true 4K resolution on each of two projectors for the right and left eye for 3D, delivered at a high image-compression rate of 250 Mbit/per second from server to projector (and as high as 500 Mbps for the 4:3 format); and creating height and height reflections for true dimensional sound. For Hoddick, these are all “objects that enable storytellers in their storytelling. And a means for you to run your business. Our business is not to get into your business.” Owning their equipment, he opined, empowers large-format venues in particular “to fit their mission, and to improve upon and differentiate the audience experience.”

Among the audience of more than 300 registrants from ten countries were representatives from AMC Theatres and Regal Entertainment Group, Cinemark, Cinecitta (Nuremberg, Germany), Cinergy Cinemas, Cobb Theatres, Empire Theatres (New Glasco, Nova Scotia), Fairchild Cinemas, Landmark, Malco, Moore Theatres, Northshore 8 Cinema (Portland, Texas), Premiere Cinemas, Rave and Santikos. Technology, service and content providers present included Ballantyne, Cinedigm Entertainment Group, Christie, Dolby, Doremi, E&E Theater Services, Franklin Designs, Harkness, IMAX, Kooptech-ASL, MacGillivray Freeman Films, MasterImage 3D, National Geographic, NEC, Projectiondesign, Qube, RealD, Schneider Optics, Sony Electronics (check out next month’s edition featuring an interview with Peter Ludé), Strong Technical Services, Texas Instruments, Tri-State Theatre Supply, Universal Cinema Services, Ushio and XpanD, to name some with relevance to the cinema business.

“We are trying to educate and answer questions,” Hoddick stated, further setting the Barco tone of collaboration and transparency prevalent throughout the two-day proceedings. Introducing the demonstration of the laser-illuminated prototype projector, Hoddick noted, “Outside of Barco, this is the first time that anyone is seeing this. And we are doing it in front of our competitors. We are inviting everyone into the conversation.”

Joining the screening required being wrist-banded after signing an “experience at your own risk”-type waiver that the FDA requires when it comes to lasers. In addition to their cost having to come down substantially, this is another one of the hurdles en route to seeing the laser light. In response, Barco joined with other industry leaders in founding Laser Illuminated Projector Association (LIPA,www.lipainfo.org), advocating necessary revisions to outdated regulations that do not apply to our industry. “The lasers inside are no more dangerous than Xenon,” Hoddick reassured.

The demo on the 72-foot-wide (22 m) Harkness Unity 1.0 gain standard screen via Doremi server went off without a glitch, even though Buyens had cautioned this author earlier about what proof-of-concept means. “You are going to see a working system that is doing what it should do: not anything odd, but where the colors are right, the light output is strong.” Adding with a chuckle, “And it doesn’t take up an entire room.”

The three individual laser beams, which Barco sends through a series of prisms until they bounce off the DMD chip, surely lit up the room with screen luminance of 22 foot-lamberts measured on a 100-foot throw (30.5 m). To be clear, Barco’s design does not use interlacing lasers to create the image on screen, but quote-unquote “simply” replaces the traditional Xenon bulb with the solid-state, uniform and long-lasting source of laser illumination. No matter how much Barco’s golden-eyed team talked about inherent artifacts that needed to be addressed by “de-speckling,” and no matter how hard an equally critical seat neighbor tried to point out image flaws caused by air conditioning, none were visible to me (an observation later shared by many). What blew me away, however, other than the overall brightness, amazing sharpness and clean crispness of the images, was the expanded range in color gamut that laser can facilitate. And the superbly rendered wet “shine” on the noses of Yogi Bear and Boo-Boo. (What can I say, I love animals and was reminded of my dogs.) If James Cameron could make his next two Avatar adventures even bluer, laser would be the way to go! Come to think of it, The Abyss might benefit from a laser-lit re-release too.

With Cameron and Peter Jackson very actively pushing existing standards, and Barco making sure to facilitate their wishes, DCI specifications come to mind. “Some rules do not yet exist,” Buyens readily admits. “There is no DCI regulation regarding lasers. We are looking at a large audience, targeting all cinemas worldwide. So DCI compliance is a mandatory piece [of the development process].” Barco is trying “to be in the driver’s seat with the studios, [talking with many of them] to see what should be next and making sure that all the necessary requirements will be included in the DCI specifications,” he insists. “Our customers have to be assured that this technology is secure and future-proof.”

“Premium experiences might want to go above and beyond some of the DCI requirements,” adds Hoddick. “Right now at Cinemark in their XD theatres, it has to be six foot-lamberts for 3D,” he says of light output. “The image quality that this generates, and the experience that audiences have, is above [DCI compliance]… We want to be able to deliver more light in that it provides a more natural, immersive experience.” So, “in some places we make the extra effort for the audience to go above and beyond,” he says. “Just because it isn’t mandated, doesn’t mean we shouldn’t do it.”

“We can get one hell of a quality picture,” concurs Buyens. “Studios have reacted very positively,” he assures. “We are buying the lasers—Barco is not a laser manufacturer—and put them together in a very special way. Different companies have come up with different ways of implementing lasers. Ours was designed by people with projectors in mind, not just lasers. We own the technology and can replicate it. Optically, it’s very efficient with maximum output from minimum input.” In other words, “we are not putting in a lot of lasers to get a lot of light, but only a few lasers with a lot of light coming out. Design and engineering is where our expertise lies as a projector manufacturer.”

That same expertise guarantees that compatibility is Barco’s “number-one development goal.” Buyens indicates these advances will be designed as retrofits for Barco Series II projectors. “We are not throwing in a technology that is disruptive to what has been installed,” he reassures. “We don’t want anyone to think that—after having spent millions and millions—they have to go out there in two or three years and buy completely new systems. No. Barco’s approach to these innovations is to be retrofittable. People will have the option to choose different modules depending on how much light output they want to use. We want people to explore what a premium experience means to them. For Barco, it is all about creating technology and higher standards that elevate moviegoing to electrifying new levels.”

Adult Executives Mixed Over 3D Porn

Porn producers are having mixed emotions when it comes to 3D porn.

A report on Philly.com quotes some of adult’s top executives at the recent AEE show as being less than enthusiastic about releasing 3D movies than they were in the past, and in some cases actually scaling back original plans.

Vivid Entertainment, according to the report, changed its mind about releasing “Star Wars XXX: A Porn Parody” in 3D because shooting the movie’s 500-plus special effects would have been too costly. Company co-founder Steven Hirsch said shooting the film, "ultimately didn't make sense financially."

Pink Visual President Allison Vivas also expressed some concerns about 3D productions, and maintained that the family living room — where a 3D enabled TV would likely reside — would probably not be favorable for porn viewing.

Vivas also believes that 3D is better suited for horror and action films and that "the things that can come at you" (in 3-D porn) "are the things that a male viewer does not want coming at them."

Vivas told XBIZ, "I think that in order for 3D porn to really take off, the viewing experience has to evolve into something more convenient and more private than putting a 3D Blu-ray in the player and kicking back in front of the 3D TV in your living room while wearing goggles.

"One of the lessons we can take from rapid growth of the mobile market is that consumers really value easy access. When we reach a point that there is widespread consumer adoption of mobile and tablet devices that handle 3D seamlessly, and without the need for glasses or other peripheral devices, I think that's when 3D porn will take off."

But some companies are still excited, albeit with some other caveats.

Hustler President Michael Klein said in his keynote address that 3D is strong — in Europe — and the company will be making 3D versions of all of its new movies.

Banking on more strong sales for its 3D products, citing the success of its 3D Blu-ray film, “Jailhouse Heat,” Digital Playground remains positive. The film’s trailer was available on YouTube using the common analglyph red-and-blue glasses.

And according to company co-founder Ali Joone, although viewers need a full-fledged 3-D TV/Blu-Ray setup with active shutter or polarized glasses to enjoy the film, it rose to the top of the sales charts fueling 3D enthusiasm.

Contrary to the more somber side of the report, some less recognizable porn companies remain on the 3D bandwagon.

Extreme Comixxx released “Super Heroine 3D” just last month, major gay producer DominicFord has been producing 3D content for the last four years, and even online content providers are getting into the game as exemplified by AdultContent.nl that added 3D content to its online shop, just to name a few.

Empire Post Media Launches 3D Content Development Program Fund

Empire Post Media, Inc. (EMPM.PK) announces that it has secured funding to begin a concerted effort to create and develop new 3D TV projects that will complement the company's first television series, "Journey Beyond".

According to Empire CEO Peter Dunn, this funding will allow the company to develop up to 10 new projects, which, if successful, will add to the company's revenue stream and bottom line. "The Company's strategy is to select content opportunities that are positioned to take advantage of the increasing number of platforms for 3D content, including international television, Internet delivery, mobile applications and other digital distribution formats," Dunn stated. "As international broadcasters accelerate launches of 3D channels, the demand for immediately-deliverable content will increase and we hope to be ready to take advantage of the opportunity."

This funding, like the previously announced non-dilutive $1,500,000 third party production finance facility for "Journey Beyond", in which a portion of the profits go to financiers, is also to be non-dilutive, third party financing. Both of these financing programs meet the company's business plan objective which is to cover development and/or production of new projects with third- party financing that does not result in immediate equity dilution, Dunn added.

Further information about Empire Post Media can be obtained from the company's web site, www.empirepostmedia.com .

WealthTV 3D joining the 3D world

WealthTV, the luxury lifestyle and entertainment network, announced today that it launched its linear 3D lifestyle and entertainment channel branded WealthTV 3D.

WealthTV 3D is the accumulation of a two year 3D production ramp effort that involved numerous in-house and outside production crews circling the globe. From the ruins in Machu Picchu and the treasures of the Louvre to the man-made grandeur of Dubai, WealthTV's 3D production crews have literally traveled the world capturing the most compelling sights and stories in 3D. The life-like 3D channel features a broad range of programming including adventure travel, automotive programming, compelling documentaries, culinary delights, boys toys, live events, and much more. WealthTV 3D has also produced a number of sports related programs, from off-road racing to championship boxing. The 3D network, working with Don King Productions, is delivering world-class title fights in 3D.

"With every major TV manufacturer leading its lineup with 3D televisions and consumers clamoring for quality 3D programming, WealthTV is extremely pleased to answer the call by delivering WealthTV 3D. WealthTV 3D allows viewers to travel the world and enjoy the finest experiences, whether it's touring Mayan ruins, strolling the sandy beaches in the Seychelles, or driving behind the wheel of a Bugatti, without leaving the comfort of their living room," stated Robert Herring, CEO of WealthTV.

"The beautiful thing about 3D is it really allows you to go places without having to spend a dime. It's the ultimate staycation channel," explains Cameron Westfall, VP of business development for WealthTV. "Our goal for the network is to allow every 3DTV owner to experience the American Dream regardless of their economic status."

This isn't the first time that WealthTV has deployed programming services to the first major wave of early technology adopters. WealthTV HD was one of only a handful of national cable networks to launch in 100% high definition dating back to 2004. WealthTV deployed HD VOD services in 2005 and 3D VOD programming in 2010.

WealthTV 3D is currently launched on a 24/7 basis via Roku's 2.5 million connected boxes throughout the United States, with additional launches on connected devices deploying soon. WealthTV recently renewed its NCTC affiliation agreement, allowing conventional cable systems to easily launch WealthTV 3D through the NCTC.

3-D dance documentary 'Pina' gets an Oscar nod

Wim Wenders wanted to make a dance movie for 20 years, but had to wait for technology to catch up with his imagination.

The German director said Tuesday that he needed the power of 3-D to make "Pina," a tribute to the late choreographer Pina Bausch that was nominated Tuesday for a best documentary feature Academy Award.

Wenders originally planned to make a film in collaboration with Bausch, director of the innovative Tanztheater Wuppertal, but the film became a tribute to the German choreographer after her death in 2009.

"For 20 years I wished I could imagine this film, and I didn't think I could because my art could not come up with the goods," Wenders said from his Berlin office.

"I think 3-D has a glorious future, especially in the documentary field, because it is the best way to bring an audience into the world of the film."

Another 3-D film, Martin Scorsese's Parisian fantasy "Hugo," leads the Oscars race with 11 nominations.

The other contenders for best documentary feature are Afghan war film "Hell and Back Again"; eco-saga "If a Tree Falls: A Story of the Earth Liberation Front"; high school football documentary "Undefeated"; and "Paradise Lost 3: Purgatory," about the West Memphis Three, U.S. teenagers jailed for a notorious triple child slaying two decades ago. It was nominated despite a request by families of the victims for the Academy of Motion Picture Arts and Sciences to exclude the film from consideration.

Winners of the 84th annual Oscars will be announced at a Feb. 26 ceremony in Hollywood.

Wenders, 66, praised the breadth of films being made under the documentary label.

"There are classic documentaries, documentaries that have more of a television language and more ambitious documentaries," he said. "'Waltz With Bashir' a few years ago was a documentary. 'Buena Vista Social Club' (Wenders' Oscar-nominated Cuban music documentary) was a documentary, even if it looked like a fairy tale.

"If it does justice to the thing it is about, that is the main thing."

Intl. 3D Society to honor Scorsese

The International 3D Society has named "Hugo" director Martin Scorsese as 2012 recipient of its Harold Lloyd Award.

Scorsese, who was nominated for an Oscar as best director, led "Hugo," which was shot on 3D, to 11 Oscar noms in all, including potential kudos for cinematography, art direction, editing and visual effects. He will receive the honor at a black- tie ceremony at the Beverly Hills Hotel on February 1st.

"Marty Scorsese has embodied Harold Lloyd's vision and passion for captivating movie fans around the world for his entire career," said Suzanne Lloyd, Lloyd's granddaughter and chair of Harold Lloyd Entertainment, who will make the presentation. "With 'Hugo' he has shared his love of filmmaking and filmmakers, in 3D, which would also have thrilled Harold."

"For all of us involved in the 3D creative process, Mr. Scorsese's contribution this year with 'Hugo' is an artistic achievement we all celebrate," said DreamWorks Animation's Jim Mainard, chair of I3DS.

The Award was established by the 3D Society and the Lloyd Family to annually celebrate filmmakers for groundbreaking artistic and technical achievement in 3D.

"Mr. Lloyd was a lifelong advocate for 3D movies, although technology never allowed him to realize his dream," said society prexy Jim Chabin. "But in joining last year's recipient, James Cameron, Mr. Scorsese has not only realized that dream, but he has produced a work of art. Added to his dedication to film restoration and preservation, we simply can't imagine a more worthy recipient of our highest honor."

"Hugo," Scorsese's first 3D feature, was shot in London and Paris and is based on the novel "The Invention of Hugo Cabret."

At its annual Creative Arts Awards the society will also present its Lumiere statuette for distinguished achievement in 15 categories, including film and television. Lloyd's great, great granddaughter, actress Jackie Lloyd, will assist presenters on-stage at this year's honors.

Along with legends Charlie Chaplin, Buster Keaton, and others, Lloyd was one of the founders of Hollywood's original comedic and creative community. In a 1923 interview he predicted that "the person who produces perfect stereo motion-pictures will have accomplished the greatest achievement since the first motion-picture."

Lloyd founded the Hollywood 3D Society in 1950 with Edgar Bergen and actor Sterling Holloway (the voice of Disney's Winnie the Pooh'). He served as its first President.

In addition to his films, the Harold Lloyd Archive contains more than 250,000 stereoscopic 3D photographs of Hollywood celebrities, events, people, and places Lloyd encountered while pursuing his passion for 3D photography.

At the ceremony, the society will also honor Sony with the 2012 Sir Charles Wheatstone Award for education and advocacy.

"With the Creative Arts Awards, the 3D Society shines a light on artists' use of the cinema's most important technological advancement in recent years," said Lenny Lipton, I3DS Awards Committee chair and 3D inventor. "Our task is to recognize achievement in order to encourage the aesthetic development of the medium."

Telecast of London Olympics to feature 200 hours of 3D coverage

Get ready for the five interlocking Olympic rings to jump out of the television and into your living room.

The London 2012 Olympic Games are going to be broadcast in 3D. NBC and Panasonic have partnered to provide extensive 3D coverage to all U.S. distributors that offer Olympic coverage via cable, satellite and telco.

Olympic Broadcasting Services will produce more than 200 hours of 3D coverage, which will be shown on next-day delay. The 3D focus will be on at least a dozen sports, including gymnastics, track-and-field, diving and swimming, as well as the opening and closing ceremonies.

“NBC has a history of utilizing technological innovations to distribute the Olympics in new ways for viewers,” said Gary Zenkel, President, NBC Olympics.

The OBS will provide about 10 hours of 3D footage a day, utilizing Panasonic cameras, recording machines and monitors. In addition to the United States, it will be shown in Great Britain, Korea, China, Australia, France, Hungary, Italy and New Zealand.

“Panasonic’s expertise in 3D technology coupled with NBC’s unrivaled leadership in coverage of the Olympic Games will deliver to home viewers an unprecedented 3D Olympic experience that will make them feel as though they are right there with the world’s finest athletes as they compete,” said Joseph M. Taylor, Chairman & CEO, Panasonic Corporation of North America.

“Full HD 3D is ideal for capturing the true spectacle of Olympic competition and the pageantry of Olympic ceremonies, and we are excited to be able to bring it to fans across the U.S.”

The 3D production will be filmed separately from the regular Olympic telecast, which is produced in high definition.

At the announcement in Berlin of the 3D Olympic plan, OBS chief executive Manolo Romero hailed the 3D Olympic plan as “the most significant step in broadcast technology.”

"Obviously we don't want to do tricks, we want to show sport as it is. But in 3D we can show what is possible. We want to get the viewer as close as possible to the action," Romero said.

The Wimbledon final has been broadcast in 3D by the BBC. Chinese television showed some of the 2010 Asian Games in 3D.

Samsung Unveils Series 9 3D 27-inch all-in-one PC

Samsung has unveiled a brand new All-in-One PC as a part of their Samsung Series 9 3D production line. This new 27-inch all-in-one pc comes powered by a second-gen Core i7 quad-core processor, featuring full HD 1920 x 1080 resolution, 8GB DDR3 RAM, Blu-ry drive and AMD Radeon HD graphics. and it also includes WiFi, multiple USB ports, TV tuner, wireless keyboard and mouse with a pair of 3D glasses.

Sadly this awesome PC is only available in South Korea and hopefully it will launch world wide soon.

CableLabs to host 3DTV interoperability event

CableLabs said it plans to tout the latest 3DTV implementations at an Interop event which it will host at its Lowville, Colo., headquarters next month.

The event, running Feb. 13-17, will demonstrate cable set-tops and 3DTVs that are based on OpenCable 3DTV requirements. While CableLabs didn't say which consumer electronics manufacturers will attend, likely candidates included Panasonic (NYSE: PC), which is sponsoring NBC's 3DTV coverage of 2012 Summer Olympics in London.

CableLabs said it has added a suite of calibrated 3DTV video test streams to its 3DTV Lab which were supplied by Allegro DVT.

As more cable operators launch 3DTV networks such as ESPN 3D and n3D--which is owned by Discovery Communications and Panasonic--CableLabs has increased its focus on 3DTV technology.

In 2009, as 3DTV was beginning to gain momentum, CableLabs built a 3DTV Pavilion at the SCTE Cable-Tec Expo which displayed 3DTV products from Sony, Hyundai, LG and Panasonic.

Eyeheight Announces CC-3D Color Corrector

Eyeheight has rolled out a multi-rate stereoscopic 3D color corrector. Designed for use in broadcast production, post-production and playout centers, the Eyeheight CC-3D allows both channels of a stereoscopic 3D pair to be corrected under common single control. Using a common single control ensures that any adjustments made have an identical effect on both channels of a stereoscopic 3D pair.

The CC-3D’s adjustable color correction parameters include R, G, B and master gain and lift plus selectable master or individual R, G and B gamma control with overall luma, chroma gain, hue rotation and black level.

An integral legalizer automatically ensures that adjustments remain within industry-agreed signal levels. Default legalization settings are to EBU Technical Recommendation R103-2000. Alternative legalization parameters can be set and stored. The legalizer is equivalent to a stand-alone Eyeheight RGB legalizer including overshoot suppression and six user memories.

Eyeheight’s CC-3D colour corrector is capable of working at 1080i/50/59.94 or 1080p 23.976/24/25/29.97 high definition, 720p/50/59.94 intermediate definition and 625/50 or 525/59.94 standard definition.

Housed in a 1RU chassis, the CC-3D can be operated from an Eyeheight FP-9C color corrector control panel. A single control panel can also be networked via CAT5 cable to drive multiple CC-3D systems. An optional browser-based Java software panel is available. Full 10-bit processing is used throughout the CC-3D. A mechanical relay bypass option is available.

UFC 143 to Air Live in 3-D at Theatres

The Ultimate Fighting Championship, in conjunction with Cinedigm Digital Cinema Corp. and NCM Fathom, announced that tickets for the first-ever live, 3-D broadcast of a UFC Pay-Per-View event on the Big Screen are on sale now. The championship fight card, UFC 143: DIAZ vs. CONDIT, airs live and in 3-D in more than 100 theatres nationwide on Saturday, Feb. 4 at 10 p.m. ET/7 p.m. PT from Mandalay Bay Events Center in Las Vegas.

The night’s main event pits the fiery and unpredictable Nick Diaz against hard-hitting knockout artist Carlos Condit for the interim UFC welterweight title. An exciting co-main event features heavyweight Roy “Big Country” Nelson battling submission ace Fabricio Werdum.

Tickets for UFC 143: DIAZ vs. CONDIT are available for purchase now at www.ufc.com/3D, as well as at theatre box offices across the country. Fans can visit the website for information on which theatres will be carrying the event in their respective regions.

“I know the fans love 3-D, so I’m happy to give them this championship fight live and in 3-D in theatres across the country,” UFC President Dana White said. “I cannot wait for this fight between Diaz and Condit to determine the interim UFC welterweight champion!”

Cinedigm to Present NO ROOM FOR ROCKSTARS as One Night Theatrical Event on March 1, 2012

Cinedigm Entertainment Group, a division of Cinedigm Digital Cinema Corp. CIDM -2.69% , announced today that it will release NO ROOM FOR ROCKSTARS in select theaters across the country in an exclusive engagement on Thursday, March 1, 2012. Filmmaker Parris Patton's much-anticipated documentary chronicling the Vans Warped Tour, will have its World Premiere at the 2012 Slamdance Film Festival on Sunday, January 22 in Park City, Utah.

"We are thrilled to bring NO ROOM FOR ROCK STARS to the many avid VANS WARPED TOUR fans across the country," said Bob Fiorella, COO of Cinedigm Entertainment Group. "This documentary is the perfect candidate for the extremely targeted and efficient distribution model that digital cinema enables and we are confident that VANS WARPED TOUR fans will flock to theatres to support the exclusive engagement."

From the team responsible for the acclaimed DOGTOWN AND Z BOYS, NO ROOM FOR ROCKSTARS is a film that resonates beyond tour and punk rock fans to anyone seeking out the true stories of rock and roll. For 17 years, the Vans Warped Tour has been a punk rock juggernaut, a misfit circus crisscrossing North America every summer as a wandering minstrel show for youth culture. Embracing a powerful, unifying ethic created by its founder Kevin Lyman, the tour has grown and prospered as the music industry itself imploded and continues to sift through the rubble in search of a new way forward. Along the way, Warped has provided a launching pad for a dizzying array of talent, from Green Day and Blink 182 to Ice-T, Eminem and No Doubt, along with perennial punk legends such as Pennywise, All, Bouncing Souls and Bad Religion.

Cinedigm is a leader in transforming movie theaters into digital and networked entertainment centers and has released close to 200 independent films and alternative content events.

With more than 300 hours of film shot during the 2010 tour, NO ROOM FOR ROCKSTARS documents the true stories of modern era rock and roll from every possible angle. The film is accompanied by a blazing soundtrack of Vans Warped Tour all-time greatest hits.

The film is directed by Parris Patton and produced by Stacy Peralta and Agi Orsi, with Cecy Rangel as co-producer and Doug Palladini as executive producer. Josh Salzman served as director of photography, and Joshua Altman as editor along with Patton.

Theatre locations will be announced in the coming weeks at www.noroomforrockstars.com .

Following the one-night theatrical event, NO ROOM FOR ROCKSTARS will be released on iTunes on April 2 and DVD on May 8.

Golden Globe Winner Martin Scorsese to Receive Harold Lloyd Award at International 3D Society Creative Arts Awards, February 1, 2012

'Hugo' Director, Martin Scorsese, has been named the 2012 recipient of the Harold Lloyd Award, it was announced today by the International 3D Society in Hollywood. Winner of this year's Golden Globe Award for Directing 'Hugo,' Scorsese will receive the Society's highest filmmaker award at a black- tie ceremony at the Beverly Hills Hotel, February 1st.

"Marty Scorsese has embodied Harold Lloyd's vision and passion for captivating movie fans around the world for his entire career," said Suzanne Lloyd, Lloyd's granddaughter and Chairman of Harold Lloyd Entertainment, who will make the presentation. "With 'Hugo' he has shared his love of filmmaking and filmmakers, in 3D, which would also have thrilled Harold," she added.

"For all of us involved in the 3D creative process, Mr. Scorsese's contribution this year with 'Hugo' is an artistic achievement we all celebrate," said Jim Mainard, Chairman of the Society of DreamWorks Animation.

The Award was established by the 3D Society and the Lloyd Family to annually celebrate filmmakers for groundbreaking artistic and technical achievement in 3D.

"Mr. Lloyd was a life-long advocate for 3D movies, although technology never allowed him to realize his dream. But in joining last year's recipient, James Cameron, Mr. Scorsese has not only realized that dream, but he has produced a work of art," said Jim Chabin, President of the Society. "Added to his dedication to film restoration and preservation, we simply can't imagine a more worthy recipient of our highest honor."

'Hugo,' Scorsese's first 3D feature, was shot in London and Paris and is based on the novel 'The Invention of Hugo Cabret.' The critically acclaimed film was called, by the Los Angeles Times, Scorsese's "valentine to the movies." Nominated for a Golden Globe for "Best Picture," 'Hugo' is also in the running for the Society's "Best Picture" Award.

The Society's Gold Lumiere(TM) statuette will be presented for distinguished achievement in fifteen categories, including film and television, at its annual Creative Arts Awards. The Society's Annual black-tie Awards Dinner will be held at the Beverly Hills Hotel Crystal Ballroom. Lloyd's great, great granddaughter, actress Jackie Lloyd, will assist presenters on-stage at this year's honors.

Along with legends Charlie Chaplin, Buster Keaton, and others, Lloyd was one of the founders of Hollywood's original comedic and creative community. Lloyd wrote, acted in, directed and produced more than 200 films. In a 1923 interview, Lloyd predicted that "the person who produces perfect stereo motion-pictures will have accomplished the greatest achievement since the first motion-picture." He founded the Hollywood 3D Society in 1950 with Edgar Bergen and actor Sterling Holloway (the voice of Disney's Winnie the Pooh'). He served as its first President.

In addition to his films, the Harold Lloyd Archive contains more than 250,000 stereoscopic 3D photographs of Hollywood celebrities, events, people, and places Lloyd encountered while pursuing his passion for 3D photography.

Sweden next in line to get a 3D TV channel

The next country to give a 3D TV channel a go seems to be Sweden, as HIGH TV 3D continues its growth in Europe.

Canal Digital, Sweden’s Pay TV provider, has decided to hop on the 3D bandwagon, launching the 3D channel for viewers to enjoy all of their favourite content with a little help from the tridimensional format.

Among the videos, customers will find comedy shows, hyped about dramas and sports features which are sure to please fitness lovers.

In addition, quite a few live events will be broadcasted in 3D – celeb parties, news, or a guilty pleasure to some – reality TV.

Viewers will also be able to immerse themselves in tropical locations featured in Travel programmes which too will be shown in 3D.

Eric Klein, CEO of HIGH TV 3D, was quoted as saying:

“It is indeed a major milestone for us, as an international 3D channel, to be present in Sweden on the platform with a high reach.

“We are excited to be bringing the very best in lifestyle and entertainment programming to an audience that embraces Entertainment as the very essence of their culture.”

It is also likely for Finland to be next to jump on the 3D train.