emotion3D provides BMW with a high-quality service for retargeting existing stereoscopic 3D content for viewing on glasses-free 3D screens. The BMW X3 is the first automotive commercial to use the technology.

[by Frank Sherosky, www.torquenews.com]

emotion3d, a Viennese start-up in Austria, won the tender for the prestigious BMW deal with an efficient software solution for editing 3D films.

3D commercials is now added as one of many next waves in automotive marketing and communication.

Using the software solution, BMW literally enabled emotion3D to land its first commercial success by editing its new commercial for the BMW X3.

At the core is a powerful software engine that automatically generates depth maps from stereo 3D material. Content creators can then edit in the 3rd dimension and render virtual cameras.

The revolutionary tools in emotion3D’s Stereoscopic Suite X1, for example, facilitate compositing shot material, editing the depth script, and finishing for different targets (e.g. cinema, home theater, laptops and glasses-free 3D displays).

Benefits

1. Depth manipulation: Perform depth grading, comfort zone control, continuity across scene cuts, compression & expansion of the depth range. Stretch, clamp and scale effortlessly.

2. Finishing for target display: Re-render your shot content with the correct perspectives.

3. “Fix it in post”: Adjust interocular and convergence independently.

4. Depth keying: Use powerful depth-based segmentation in your post.

Expect More 3D Commercials from Automotive?

The 3D commercial will be shown by BMW at numerous car dealerships around the world and in a few selected showrooms in auto stereoscopy. This is the generic name for three-dimensional imaging technology that negates the use of special glasses and similar headgear.

Question is, will this start a new trend in automotive marketing?

emotion3D edited the BMW X3 commercial in a highly qualitative, inexpensive and efficient way, creating these 3D displays. As a result, viewers are taken into a new, groundbreaking dimension of 3D entertainment and are offered a variety of different perspectives.

emotion3D has been funded and supported by INiTS Universitäres Gründerservice Wien GmbH. This consulting service of the Centre for Innovation and Technology of the City of Vienna, the University of Vienna and the Vienna University of Technology supports and advises graduates, employees and students at universities and universities of applied sciences on putting their business ideas into practice and founding start-ups.

About the Author: After 39 years in the auto industry as a design engineer, Frank Sherosky now trades stocks and writes articles, books and ebooks via authorfrank.com, but may be contacted here by email: FrankS@TorqueNews.com

See the original post here: http://www.torquenews.com/119/bmw-x3-uses-3d-commercial-technology-developed-emotion3d

[Press Release]

Marchon3D(TM) and UltraStar Cinemas have teamed up to create the first in-theater, self-service vending machine for Marchon3D’s patented 3D glasses.

Marchon3D, the premier designer and supplier of the most technologically-advanced, circular polarized 3D eyewear on the market, has created an innovative custom vending machine for theater-goers. Beginning in the summer 2011 – just in time for the summer blockbuster season – 3D movie-goers in San Diego will be able to purchase the newly released line of EX3D glasses with patented M3D lens technology in the UltraStar Mission Valley Cinemas.

This state-of-the-art vending machine will have a sleek digital interface and be extremely user friendly, allowing consumers to browse and select from a wide assortment of EX3D glasses, pay with a quick swipe of their credit card and then take their seat to enjoy the show!

“This is the first time we’ll be offering our EX3D glasses for sale in theaters and the first time we’ve ever built a self-service installation like this. 3D has become so pervasive in our culture, and 3D theaters are the most popular venue where we consume 3D content – having our glasses in-theater with a reputable partner such as UltraStar Cinemas makes perfect sense,” said David Johnson, president, Marchon3D. “Today’s consumer has a vast digital footprint, using more digital devices than ever before. Marchon3D glasses are designed to easily move them through the 3D component of their digital ‘life.’ The EX3D glasses delivered in this vending machine can be used across all passive 3D platforms including movies, video games, 3D televisions and laptop computers and they offer a mix of style, comfort and affordability.”

Movie fans can choose from adult, tween and children’s sizes in a variety of trendy colors and fashionable shapes. Marchon3D will also offer smart solutions for prescription glasses wearers including clip-on lenses that easily work on any prescription frame as well as frames that comfortably fit over the entire prescription frame. Prices will range from $25-$80.

“We want to provide the best possible 3D movie experience to our customers and there is no better way to do that than to offer best-in-class and best-in-value 3D glasses from Marchon3D,” said Damon Rubio, vice president of operations for UltraStar Cinemas. “With well over 40 3D movies coming out within the next year, it makes sense to invest in a comfortable, well designed pair of glasses that will deliver a top-notch movie viewing experience.”

The test in the San Diego theaters is slated to begin in June and last three months. Marchon3D plans to roll out additional vending machines in other markets in the upcoming months.

“Marchon3D is the first company to really take a 360 degree look at today’s consumer and think about what they want in a pair of 3D glasses,” said Hannah Sarbin, vice president of new business development, Marchon. “They want an exceptional 3D experience from a technical standpoint, and they want something that fits their lifestyle and personality. They don’t want the same old black frames and flat lenses that come with the cost of a movie ticket. Studios and manufacturers spend hundreds of millions of dollars pushing the boundaries of 3D technology, why settle for the generic 3D glasses for that experience?”

Marchon3D is attending CinemaCon and will have a suite in the Augustus Tower of Caesar’s Palace. If you are interested in making an appointment to check out the glasses and discusses this latest partnership, please contact Marchon3D@kcsa.com.

See the original post here:  http://internationalentertainmentnews.blogspot.com/2011/03/marchon3d-and-ultrastar-cinemas-to-test.html

[Press Release]

In a groundbreaking product introduction, XPAND 3D today announced the XPAND Infinity™, a complete 3D system that is designed to deliver the best possible viewing experience in any cinema. The XPAND Infinity system features two different models of eyewear and offers optimal 3D performance, multi-directional synchronization and the highest 3D contrast ratio ever delivered.

“XPAND Infinity was created to deliver the most spectacular 3D experience ever,” said Maria Costeira, CEO, XPAND. “It is adaptable to a wide variety of cinemas and screen types including the world’s best and largest venues, and brings a new level of 3D realism and excitement to moviegoers.”

Using the patented Infinity controller, XPAND Infinity can support almost any screen size, shape and surface. Whether the screen is 300 feet or 30 feet wide, flat, curved, dome-shaped or even Cinerama format, XPAND Infinity will transform the theater into the finest 3D environment. The system works with any type of screen surface.

XPAND Infinity is packaged with seven controllers, and a choice of XPAND Infinity or XPAND Infinity Deluxe 3D glasses. XPAND Infinity Deluxe glasses combine a new, stylish appearance with exceptional 3D viewing performance. The lightweight Infinity Deluxe eyewear offers up to 38% transparency and a 3000:1 contrast ratio, and comes with rechargeable batteries. Their ergonomic design ensures long-wearing comfort.

Meanwhile, the XPAND Infinity 3D glasses have a lightweight, functional design and provide up to 37% transparency and a 2000:1 contrast ratio. The glasses are shaped for comfort and use replaceable batteries.

The XPAND Infinity system provides the brightest, most vivid and realistic 3D images achievable, without ghosting or artifacts for any viewer in the theater. An unlimited number of Infinity systems can be linked together to operate as a large-scale system.

In addition, XPAND Infinity and XPAND Infinity Deluxe Glasses are equipped with RFID tags. RFID technology can be used for anti-theft purposes, allowing theater owners to track and monitor each pair of glasses.

“XPAND’s new Infinity glasses were developed in order to provide optimal quality. In addition, we made sure that the Infinity glasses are a cinema owner’s best friend,” Costeira added. “The new glasses are more durable and allow the cinema management to monitor its inventory and usage levels throughout the cinema location in real time. Some of our beta sites achieved a 3DCPU (3D Cost Per User) of less than 4 cents US, making XPAND the best and most cost-effective 3D system on the market.”

For more information on XPAND 3D glasses, please visit www.xpand.me

See the press release here:  http://www.businesswire.com/news/home/20110329006207/en/XPAND-3D-Introduces-XPAND-Infinity™-High-Quality-3D

[By KAREN IDELSON, Variety]

In the world of 3D exhibition, the companies that make the glasses and add-ons systems used by theaters to screen films in 3D are knocking heads over screens in this country and worldwide.

Though RealD got to the party early and locked in some impressive contracts, a group of tough challengers — some among the biggest names in entertainment tech — is developing their own set of relationships and strongholds.

The three largest players in the 3D exhibition market are still RealD, Dolby and Xpand. RealD is the undisputed frontrunner, with greater than 85% market share in the U.S. Company recently announced it had passed 15,000 installed screens worldwide.

Started in 2003 by CEO Michael Lewis, RealD adds complex technology to a d-cinema projector but requires only simple polarized glasses, which can be disposable. RealD also uses a unique business model. Instead of selling its systems outright, it collects a royalty on each ticket. Exhibs have liked that because they’re not on the hook for an expensive add-on should the format — or RealD itself — go belly-up. RealD has aggressively pursued long-term deals with major theater chains to lock in market share.

The company has approximately 8,600 screens in the U.S. and Canada at about 2,300 locations. There are around 6,500 international RealD-enabled screens at 2,150 locations outside the U.S. These numbers translate to a 182% increase in their base of installed theatres in the last 12 months alone.

Dolby, a much older company with a proud brand and deep relationships with exhibitors, entered the 3D market later with a (color-based) interference filter system that requires more expensive, reusable glasses, but the glasses are still “passive” — they have no electronics built in. Dolby doesn’t sell to theater chains but to aggregators who put together d-cinema systems for theaters.

X factor

Xpand has built a reputation for their high performance active shutter 3D glasses ($35 a pair, reusable) and in the process won 3,500 screens in total, many in Asia and Europe. Because the Xpand glasses have electronics built into the frames, it requires somewhat less tech in the projector — or in the TV, as Xpand makes universal glasses for today’s active-shutter 3D TVs. Company also just introduced a 3D plug-in for PowerPoint.

“It’s true that it might be cheaper to see a 3D with passive glasses but I don’t think audiences are stupid,” said Xpand’s chief strategy officer, Ami Dror. “They can tell the difference between good 3D and bad 3D. When it’s bad, people get headaches or it just doesn’t look as good. Our system looks good and it costs more. That’s the choice exhibitors have to make.”

All three companies claim to have superior tech, though, and in fact all are rated high by experts. RealD is arguably the most vulnerable to cross-talk (a double image when the left eye and right eye frames aren’t fully separated), but the difference is small.

Trailing the big three are upstart Masterimage, which uses tech similar to RealD and has sold systems to more than a dozen mid-sized theater chains; Panavision, which uses a “spectral comb” filter that’s a cousin to Dolby and is starting a push in the Americas; Technicolor, which is focused mainly on helping film projectors show 3D; and startup Oculus, which has another 35mm-based 3D system but for now is focused on making eco-friendly polarized glasses.

“We have relationships with all these exhibitors for a reason,” said RealD’s Lewis. “If our product didn’t give a great experience at a price that works for the exhibitors, we wouldn’t be there.” But nowadays the 3D companies aren’t really competing on the quality of their technology but rather on economics. And that may give RealD’s competitors an opening.

Though Lewis won’t discuss details of RealD’s exhib deals, its standard deal charges a royalty on each ticket sold for a RealD showing plus fees for the system itself over the course of the time it’s used by the theater. Exhibs pay the royalty and fees as they go but are spared having to buy the system.

Specs and bucks

At the heart of the competition is 3D glasses, and here RealD has a major advantage. In North America, distributors supply RealD disposable glasses to theaters, so RealD’s glasses are cost-free to exhibs. Distribs don’t subsidize reusable glasses. Outside the U.S., RealD sells the glasses to the theater, which then resells them to patrons for a cost of approximately €1, Lewis said. Patrons are encouraged to carry their own and avoid the extra charge when they return.

Cleaning, loss, breakage and theft are significant expenses with reusables, but even with those costs reusables are arguably cheaper over their life. However, since exhibs don’t bear the cost of disposables, RealD’s competitors lose that advantage.

RealD’s rivals also claim to offer a better deal since they don’t force a theater chain to sign a multiyear deal or pay a per-ticket royalty. Masterimage’s pitch has convinced more than a dozen mid-range theater chains, including Bow Tie Cinemas, to buy their 3D systems. The company’s glasses are also subsidized in the U.S. Outside the U.S., the glasses are sold to the theater and then resold to patrons as well. Masterimage prexy Peter Koplik believes his glasses are less expensive than RealD’s.

All companies offering 3D systems with polarized glasses have to worry about cross-talk. The big advantage of the Xpand shutter glasses is that there is no cross-talk; only one eye sees the screen at a time. That earns them plaudits among some 3D experts, though the glasses are relatively heavy, can fail and need recharging.

Lewis doesn’t believe RealD’s glasses are outperformed or that Xpand’s business model will work over the long haul.

“The best way to do 3D has been established,” Lewis said.

Panavision entered the 3D market only in October. “We know we’re coming into this late,” said Eric Rodli, general manager of 3D systems for Panavision. “When you’re late to a party, you have to bring a really good dessert, and that’s what we think we’ve done.” Panavision has just over 50 screens between the U.S. and South America. Rodli believes its biggest areas of opportunity for now will be outside the U.S.

Technicolor has designed low-cost systems designed to upgrade film projectors to 3D — an opportunity even Technicolor thinks is only going to last a few years. Their pitch is to theaters and chains that lack resources for a digital upgrade. With the Technicolor system, they can show 3D (and collect the 3D upcharge) with a 35mm projector. Technicolor uses polarized glasses modeled on RealD’s design but specially designed by Technicolor.

These smaller companies clearly have no intention of giving up the fight despite the considerable advantages RealD brings to the battle. They hope that the d-cinema wave is big enough for a bunch of companies to surf, and they may be right.

The studios want to push the digital transition and lose the expense of release prints. And while auds seem indifferent to the quality advantages of d-cinema, they’ve flocked to 3D, even at an upcharge, so it’s become the biggest inducement for theaters to go digital.

As Koplik puts it: “RealD is Goliath and we’re David, but we’re getting better with our slingshot.”

See the original story here: http://www.variety.com/article/VR1118034654?refCatId=3764

[Press Release]

New Application Gives Users Opportunity To Create Their Own Interactive 3D Content to Show in Conference Rooms and XPAND 3D Cinemas

In a development that allows anyone to create interactive 3D content, XPAND 3D today introduced its new PowerPoint 3D plug-in, an application that lets users easily add 3D images, graphics and objects to PowerPoint presentations.

“Our new plug-in literally brings a new dimension to PowerPoint,” said Ami Dror, Chief Strategy Officer of XPAND 3D. “We have proven in various case studies that 3D improves viewer retention by more than 30 percent. 3D PowerPoint presentations are now more interesting and deliver much more impact.”

The XPAND PowerPoint application is a simple, intuitive way to create 3D content. It allows users to set the amount of depth to every element in a slideshow and to embed 3D objects like 3D movies, 3D pictures and graphics. The plug-in is compatible with MS Office 2010, 32-bit or 64-bit.

The 3D content can be viewed on a computer, compatible 3D TV or a video projector that supports HDMI 1.4 3D formats, using XPAND Universal 3D glasses.

“The XPAND PowerPoint application is ideal for business applications, event companies and AV rental companies looking to broaden their range of services, and for cinemas that host these events. In addition, this is perfect for education, as it enables students to design 3D projects and educators to design 3D lessons,” Dror added.

The full version of the XPAND PowerPoint 3D plug-in is available at the XPAND website, www.xpand.me

See the original press release here: http://www.businesswire.com/news/home/20110329006214/en/XPAND-3D-Introduces-3D-Plug-In-Microsoft-PowerPoint

[By Jim Barthold, www.fiercecable.com]

There are some who believe that the 3DTV space is getting a little ahead of itself; that the TV makers are pushing the content providers to deliver product that isn’t ready for prime time. David Cole is among them, which is something of a surprise because Cole, the co-founder of Next3D, has been working within and perfecting technology for 3D presentation since the mid 1990s and is something of a 3D fanatic.

Cole sat down with FierceCable to talk a little about Next3D and a lot about 3D as a medium, starting with the thought that it might not be here yet, even though 3D TV appears to be inevitable.

FierceCable: So the first question is always the same when it comes to 3D. Where’s the market?

David Cole: The bulk of the content available to the home consumer right now is 3D video gaming. There’s an enormous amount of really exciting core development going on in terms of gaming. That’s the primary driver here for us and the reason we’re launching on PCs first. The early adopters and the first guys to get really big TVs and glasses are gamers.

FC: So when does 3D TV happen? If you read some press releases, it’s here already–in TVs and consumer electronics devices, on cable and satellite and telco …

DC: The jury’s out. We talk to everybody in the space and some of the most compelling things I’ve heard are from Disney and DreamWorks. There’s a generation that’s growing up expecting 3D glasses to be part of the movie viewing experience. That does translate to the home market and that’s probably the next part of the adoption curve: the 3D generation.

FC: So when does the 3D generation grow up?

DC: We’re looking at five, six years where all the world’s theatrical children’s programming being released will be in the 3D. We are training a generation.

FC: But when will that translate from the big screen to the not-so-big screen in the home entertainment center?

DC: I don’t think it’s realistic to expect it to happen overnight. The content has to be compelling. Sports is a really unique experience when it’s done right in 3D so it’s really difficult to go back to 2D. It’s part of our reason for existing.

FC: What does your existence bring to the party?

DC: The company is built on our intellectual property for stereoscopic compression … with an ability to deliver high quality 3D at very low bitrates. We have two business units: a video-on-demand business that is launching this summer and a second piece that is more industrial in nature which is live streaming content that we’re currently developing in conjunction with Turner Broadcasting and we intend to license broadly for live streaming over any IP connection.

FC: Following up on two things you said there: a connection with Turner Broadcasting (which was announced in January 2010) and IP connections. Does this mean you’re looking at 3DTV for IPTV or can conventional cable fit into your technology?

DC: Our target is to migrate our client to as many of the consumer electronics platforms as we can, specifically looking at the modern system-on-a-chip OEM modules from Intel and NVIDIA both for receiving our streaming content and for our video-on-demand services. It starts with the PC. The first visible consumer functionality from us will be a PC client and then the road map includes game consoles and CE devices.

FC: So why do you need Turner?

DC: The relationship with Turner helps with cable. Right now the model for us is over IP which is a big bite and a very important first step for distribution over the Internet. But there’s no difference in the packetization of that content whether it’s going over a satellite connection or an Internet connection or a transport stream over cable. We do envision the opportunity to utilize our relationship with Turner and others to potentially move into the digital broadcast space.

FC: When and where?

DC: It looks like it’s easier to build outside of the U.S. at first.

To move into the U.S., the process would be to go to CableLabs and demonstrate the compelling reason to use a proprietary codec inside the cable world or the digital broadcast world. The rest of the world scenario is not quite so bureaucratic. So, as I said, for now the strategy is to leverage the Turner relationship to move into broadcast. We have a lot to chew on with supplying an over-the-top IP solution right now.

FC: You’re a technology guy. How’s the first crop of 3DTV looking to you?

DC: Some would say the TV manufacturers put the cart before the horse; they launched too early. A number of broadcast providers moved very quickly to try to pump 3D down a TV infrastructure and there’s been a deafening quality backlash. The value of going to the trouble of get a 3D TV and putting on glasses means there has to be a payoff and the payoff can’t be a headache.

FC: Ah, yes, the glasses. Has your technology advanced enough that the glasses can be tossed in the recycling bin?

DC: Not yet. This is still a stereoscopic-dependent technology. however, we do have IP (intellectual property) around a transmission technique for multi-view auto-stereo displays. But that’s the future. For now we’re stereo (and glasses) dependent.

Read the original post here: http://www.fiercecable.com/story/david-cole-co-founder-next3d-future-3d-tv-and-3d-generation/2011-03-31

[by Herald.ie]

Director James Cameron has revealed he is converting his blockbuster Titanic to 3D for release next year.

The movie, starring Kate Winslet and Leonardo Di Caprio, was one of the highest grossing films of all time.

All six Star Wars films are also in line for the 3D treatment as movie bosses ramp up the new format.

Done properly, 2D movies converted to 3D can look fantastic, Cameron said.

“We have our third generation now of kids who are under 12 years old who have never seen Star Wars on the big screen,” fellow director George Lucas added.

“And I am betting a lot of people will go see a movie that they have seen on television a million times and they have the video at home, and they will go and see it because they want to see it in the theatre in a social experience.”

CRAZE

Star Wars creator Lucas says 3D will eventually take over at the cinema in the way colour replaced black and white.

Lucas and fellow technology pioneers Cameron, the maker of Avatar, and DreamWorks boss Jeffrey Katzenberg pointed out that digital film-making was only in its infancy but would bring vast improvements to how movies were made and seen.

Digital technology in general was revolutionising film-making the way sound did in the 1920s, Lucas said. The new digital 3D craze had hits and misses, but should one day become the big-screen standard over 2D presentation, he added.

See the original story here: http://www.herald.ie/entertainment/film-cinema/titanic-and-star-wars-are-returning-in-3d-2602325.html

The title will also be available in 2D on PC/Mac, Wii, Xbox 360 and Nintendo DS beginning June 21 – three days before the film hits theaters.

See the original post here: http://www.hollywoodreporter.com/news/cars-2-is-first-disney-172892

[by Carolyn Giardina, The Hollywood Reporter]

The “Avatar” director and his producing partner are exploring shooting and projecting digital movies at a higher frame rate in the hopes of achieving brighter images and improved 3D.

James Cameron and his producing partner Jon Landau are exploring shooting and projecting digital movies at a higher frame rate than the standard 24 frames per second. By moving to rates of 48 or 60 frames per second, they hope to achieve brighter images and improved 3D

Cameron is slated to offer a presentation on the subject Thursday at CinemaCom in Los Vegas, and Landau spoke about the issue, which is becoming a hot topic, at a Christie customer event at the confab Tuesday.

“It improves (3D),” Landau said. “An artifact in 3D (creates) strobing that goes away at higher frame rates. (Strobing) is more noticeable in 3D (than 2D).”

Landau suggested that higher frame rates also means that the shutter is closed for less time, resulting in a brighter image. That is a topic that is particularly noteworthy in 3D, as the glasses can reduce the amount of light that the viewer sees.

Also on quality issues, he commented: “We are taking (currently used) 24 frames per second to 30 for all ancillary markets. You are degrading the master image to do that.”

These higher frame rates are not a common feature in digital cinema technology today, though Landau told The Hollywood Reporter that development is being explored. “We are working with (projector) companies like Christie, we are working with server companies, we are really exploring how to do it,” Landau said.

Landau related that the capabilities are already available in today’s digital cameras. “We have done tests ourselves with different digital cameras and proven that they can all shoot at the higher frame rates. They all could, but they alway utilize it for slow motion. They will record something at 48 or 60 frames per second, but when they play it back at 24, they are doing slow motion. Now we want to do it, but play it back at those same rates.”

He said of higher frame rates: “We think it will make a big difference to the audience experience — not just for 3D movies, but for all movies.”

Landau was introduced at the reception with a string of credits including Titanic, Avatar and “soon Avatar 2 and 3.”

“Soon is a relative term,” Landau responded, as the audience chuckled.

Titanic will be released in 3D next year, marking 100 years since the ship’s voyage.

“We are working with a number of different vendors,” Landau said of the Titanic conversion.

He emphasized the importance of the director’s involvement in the process: “Jim is a part of the process. You have to engage the filmmaker,” he said.

On the general topic of 2D-to-3D conversion, Landau said: “We don’t believe in (converting) except with library titles.”

He said of moviemaking: “We have to make good products that captivate the audience, and bring innovation into our products. … Innovation is tricky; you can’t be afraid to fail.”

See the original post here: http://www.hollywoodreporter.com/news/avatar-producer-jon-landau-addresses-172438

The Entertainment Technology Center at University of Southern California, or ETC@USC, has appointed industry veteran Vince Roberts as its new board chairman.

Roberts joined the Disney Channel as a staff engineer when it launched in 1983 and was later appointed to director of operations and engineering. He currently serves as EVP of global operations and chief technology officer of the Disney/ABC Television Group, where he oversees broadcast operating and technical functions of the ABC Television Network, Disney Channel Worldwide, Disney XD, Playhouse Disney, SOAPnet and ABC Family, as well as Disney ABC International Television, including Disney-branded networks in Europe, Latin America, the Middle East, Africa, Asia Pacific, Japan and Canada.

“Vince is a pioneer in the industry and an exceptional supporter and driver of ETC@USC’s efforts to advance entertainment and technology,” said David Wertheimer, CEO and executive director of ETC@USC. “We are honored to have Vince’s continued involvement and support.”

Roberts is a member of The Society of Motion Picture and Television Engineers, the Institute of Electrical and Electronics Engineers, the Society of Cable Television Engineers and the Academy of Television Arts and Sciences.

“The depth and breadth of the ETC’s industry-leading reach provide a great forum for collaboration and information sharing,” Roberts said. “I am honored to serve as the chairman of the board and look forward to working with David and the ETC team.”

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