[Philip Lelyveld comment: both Marchon3D and MasterImage 3D support the ETC Consumer 3D Experience Lab]
[by PR Newswire]
Marchon3D to Provide 3D Eyewear Exclusively to MasterImage 3D Theaters; Deal Further Solidifies Marchon3D in European and Asian Marketplace
Theater-goers in Asia and Europe no longer have to wait for the most technologically-advanced 3D glasses on the market to watch their favorite 3D movies.
Marchon3D™, a division of Marchon Eyewear, is continuing to expand its international reach by signing a distribution agreement with MasterImage 3D, a leading provider of next-generation 3D solutions and systems, to provide premium 3D eyewear. The partnership will consist of a pan-European and Asian rollout of “in-theater” displays and vending machines featuring the patented EX3D line of glasses.
MasterImage 3D has digital 3D cinema systems in over 60 countries around the world and offers audiences the clearest, sharpest 3D experience while providing exhibitors with a compelling ownership-based pricing model. The MasterImage MI-2100 digital 3D cinema system offers high-quality presentation, single-or multi-use eyewear, is easily portable between screens. The MasterImage MI-1000 glass filters are universal and work optimally with MasterImage 3D glasses for oversized screen installations.
EX3D is Marchon3D’s line of circular polarized 3D glasses retailing for euro 20-60 for the theater and retail channel.
“Theaters in Europe and Asia are fundamentally different from those theater chains in the United States,” said David Johnson, President of Marchon3D. “MasterImage 3D, has offices all over the world, and very strong relationships with independent theater owners. Partnering with them will ensure the marriage of best-in-class 3D projection with best-in-class 3D glasses.”
This is an exclusive renewable contract that includes full sales and marketing support to promoting the EX3D line in theaters.
“Marchon3D is a world-class designer and distributor of luxury eyewear. We are very excited to partner with such a distinguished brand,” said Peter Koplik, President Digital Cinema, MasterImage 3D. ”The EX3D offers movie-goers a premium option as they frequent theaters with MasterImage 3D systems.”
DLP Cinema lights up CineEurope 2011, bringing the brightest and most reliable digital picture possible to over 40,000 screens worldwide
After 15 years of proven digital deployments all over the world and an unprecedented year of growth and success in 2010, Texas Instruments (TI) DLP has strengthened its leadership to become the leader in installations, brightness and reliability. TI DLP Cinema will be present once again at CineEurope, the European convention and trade show dedicated to the needs of the cinema industry.
DLP Cinema, the worldwide leader in installations:
DLP Cinema technology continues to dominate worldwide the 2D/3D digital cinema industry as the following figures evidence: Today, over 40,000 screens worldwide rely on DLP Cinema technology to light up screens for millions of moviegoers, with more than 8 out of 10 digital theatre screens worldwide using DLP Cinema technology. In other words, DLP technology has reached 85% market share worldwide as of June 2011.
Europe has one of the highest growth rates regarding the number of DLP Cinema digital screens: From January 2010 to June 2011, the number of screens increased by 187% to reach a total of over 13,550 screens. Among them, over 9,100 are 3D screens, which ranks Europe as the second largest region for 3D screens in the world, representing around 33% of 3D screens worldwide. In Europe, the number of 3D screens increased during this time period to an annual rate of 163%. For France, the leading European country in number of digital screens increased 169% from 975 in 2010 to 2,626 in June 2011 – and 3D screens increased by 149% from 2010 to 2011.
Drew Kaza, Executive Vice President of Digital Development for Europe’s leading exhibitor chain, Odeon & UCI Cinemas Ltd., shared the following sentiments, “Our conversion to digital cinema is going extremely well with a majority of our screens in the UK, Austria, Germany, Italy, Portugal, and Spain already up and running with digital 3D. We selected digital projectors with TI’s DLP Cinema technology, and since the reliability and support has been excellent, we are ramping installation to have our entire circuit converted by 2013.”
DLP Cinema, the brightest and preferred digital cinema technology:
One of the highlights at this year’s CineEurope is James Cameron showing a new screening of Titanic in 3D on a DLP Cinema system, enhanced with Dolby’s 3D technology – one of the five 3D systems available worldwide, which are all compatible with DLP Cinema technology. The industry selects DLP Cinema for its brightness, which is a crucial qualitative element, especially for captivating and immersive 3D projections. Recently, the DLP Cinema-powered Barco DP2K-32B was awarded the Guinness World Book of records as the brightest projector on the planet, achieving 43,000 lumens. Ultimately, DLP Cinema technology remains the number one choice for illuminating the world’s largest screens.
DLP Cinema, the most reliable digital cinema technology:
Touting award-winning color performance, DLP Cinema is the only imaging technology to receive an Academy Scientific and Engineering Award (Academy Plaque in 2009) for precise color reproduction, and has become the industry standard for color accuracy. In addition, all subcomponents for DLP Cinema’s 2K and 4K platforms were the industry’s first DCI-approved digital cinema projector technology.
“DLP Cinema’s continued worldwide leadership in the 2D/3D digital cinema space provides theatre owners, studios, and, most important, moviegoers with an experience that simply cannot be equaled,” said Dave Duncan, Business Manager of DLP Cinema for Texas Instruments. “2010 was clearly an amazing year for DLP Cinema. Although the digital conversion was steady for the first 10 years, 2010 will be noted as a milestone in digital cinema history, as the number of DLP Cinema projectors nearly doubled in one year. This decade looks extremely bright for DLP Cinema and its licensees. Together with our partners, nearly one-half of the world’s theatre screens will be converted to DLP Cinema by the end of 2011.”
Spanish start-up Estado Latente S.L. has just brought to market itsTOYin3D patent, a device for viewing 3D (stereoscopic) content on any smartphone*
The new TOYin3D is a view up which can be used to display 3D content directly on your mobile phone in a simple, accessible way, without the need to have any special software installed.
This innovative device can be used on any smartphone (iPhone, Nokia, Samsung, LG, HTC, BlackBerry Torch) or portable multimedia player (iPod Touch, Psp, mp4, mp5, etc), offering everyone the experience of personal 3D cinema.
TOYin3D is light and transportable, easily foldable, 100% customisable and inexpensive.
3D technology is currently undergoing a redefinition to adapt the technique for home use. But how can consumers get the 3D entertainment experience on the move? How can you watch videos, trailers, games, documentaries, events..?
TOYin3D has been devised as a smartphone-compatible device to offer consumers access to 3D content.
Ángel Alonso, TOYin3D‘s Head of Engineering explains the developer’s aims: “We want to democratise 3D content for users at the same time as offering brands a new platform to reach out to those consumers, turning their ideas into reality, bringing them closer to the real world at all times”.
Wrap-around three-dimensional reality with no colour loss
TOYin3D creates the illusion of depth and wraps the spectator up in a realistic 3D environment, with no colour loss as it makes use of the mobile device’s video and audio functions.
This means that TOYin3D resolves the problem of quality and depth loss in 3D displays using red and blue glasses, the only previous inexpensive way to view 3D content.
Online 3D content over the various TOYin3D channels:
3D videos are now available to be displayed directly on your mobile by visiting the TOYin3D Youtube3D channel: all you have to do is to set the player to “parallel view“.
TOYin3D is designed for use by end consumers and as a new promotional platform for companies, as TOYin3D offers the opportunity to experiment and bring 3D closer to current or potential customers.
If you are a company involved in stereoscopic 3D, please feel free to request free samples at: info@toyin3d.com
[By RICHARD VERRIER, BEN FRITZ AND SERGEI LOIKO | Los Angeles Times]
MOSCOW – On a hot summer night last week in a historic Moscow square, a delegation of Hollywood celebrities headed by director Michael Bay and actor Shia LaBeouf marched past the 33-foot tall Alexander Pushkin monument and up the green carpeted stairs to the movie theater, a drab Soviet-era cube of concrete and glass.
In a poorly air-conditioned auditorium filled well beyond its 2,000-seat capacity, the Hollywood contingent went on stage to introduce the opening film of the 33rd Moscow International Film Festival: Paramount Pictures’ “Transformers: Dark of the Moon,” the latest in the series of critically pummeled but wildly popular extravaganzas featuring giant battling robots, fiery explosions and scantily clad young actresses.
If the festival, conceived as a showcase for films extolling the Soviet Union, seemed an unlikely marketing venue for Hollywood’s quintessential summer event movie, it actually reflects how emerging markets that were a backwater for the American film industry only a decade ago have become its primary growth engine.
“Ten years ago Russia had only a few dozen screens, and now it is enjoying such enormous growth that we think it’s fitting to have the opening of one of the biggest franchises in the industry there,” Paramount Chairman Brad Grey said in an interview. “Russia is just one of several new markets opening up that are driving most of the increase in demand for our movies.”
Box-office growth in countries such as Russia, Brazil and China (Europe and Japan have long been fertile ground for American movies) comes as theater attendance in the U.S. and Canada has flattened and once-lucrative DVD sales have plummeted.
Overseas ticket buyers now account for nearly 70 percent of Hollywood’s box-office revenue, and it’s quite possible for a movie to flop in the U.S. yet still be a hit because of its international appeal. For example, the Johnny Depp-Angelina Jolie thriller “The Tourist” earned only $68 million domestically after its December debut. But the movie, directed by a German, filmed in Venice and Paris, featuring a largely British supporting cast and remade from a popular French film, did a healthy $211 million overseas.
“We have to make up for the shortfall in DVD spending somehow, and the principal way we are doing it now is international,” said Michael Lynton, chairman of Sony Pictures Entertainment.
The trend has changed how Hollywood does business, including deciding which movies get made, where they are filmed, who gets cast and how they are marketed.
In the expanding global marketplace, the sensibilities of moviegoers in Shanghai and St. Petersburg count as much as – if not more than – those in St. Louis and Studio City.
In Sony Pictures’ “The Green Hornet,” for example, executives tapped Taiwanese pop star Jay Chou to play the Hornet’s sidekick despite his lack of Hollywood experience and limited English. He and co-star Cameron Diaz, who is popular in Europe, provided balance to star Seth Rogen, who didn’t have a strong track record overseas.
“When it comes to casting decisions … we certainly take into account how well the character will play in international markets,” said Neal Moritz, a producer of “Green Hornet.”
Another movie Moritz produced, “Fast Five,” takes place in Brazil, “not only because it was right for the movie, but because it was right for the international marketplace,” he said.
The film had its world premiere in Rio de Janeiro and has grossed $21 million in the country, twice as much as 2009′s “Fast & Furious.”
In some cases, it’s just a matter of branding. The film sold to Americans last fall as “Battle: Los Angeles” was called “World Invasion: Battle Los Angeles” in most of the world. This summer’s “Captain America: The First Avenger” will be known simply as “The First Avenger” in Russia and South Korea.
In Disney-Pixar’s just-released animated feature “Cars 2,” which is set in several international locations, “there was originally a Russian villain, but there was concern about that,” said Nathan Stanton, story supervisor on the film. The bad-guy car character was changed to a monocle-wearing German.
Animated family films like “Cars 2″ and “Rio,” as well as 3D, special-effects-laden spectacles with easy-to-follow stories like the “Transformers” sequel, are typical of the kind of movies that play well overseas, particularly in emerging markets. Live-action comedies and dramas, meanwhile, tend not to translate well, a key reason studios are making fewer of them.
“The movies that work overseas tend to be big action films, the type that don’t require viewers to necessarily pick up on the nuances of the language or culture,” said Lynton.
Kirill Razlogov, the Moscow film festival’s program director, said he scheduled the “Transformers” premiere to boost the festival’s international profile and doesn’t really consider it an American film. “There is nothing American in ‘Transformers,’ and it is far more like a Japanese video game than a U.S. movie,” he said.
Bay said Moscow was the ideal stage for the launch of his latest movie.
“I grew up with the Cold War and I think it is wonderful that we are here in Moscow,” said Bay, whose grandfather was Russian. “It is a very important place in the film market today.”
France, Germany, Britain and Japan remain the most lucrative foreign markets, but are fast losing ground to countries where rising middle classes with more disposable income have fueled a multiplex building boom.
In China, where box-office receipts hit a record $1.5 billion in 2010, according to research firm Screen Digest, the number of screens doubled to more than 6,200 in the last four years and is projected to double again by 2015. In the last decade, China has gone from the world’s 23rd-largest movie market to No. 6.
Russia crossed the $1-billion box-office mark for the first time in 2010, a more than fifteenfold increase since 2001. The former Soviet Union now has about 3,000 commercial movie screens, with 1,000 equipped for 3D, which remains more popular overseas than in North America.
“People now flock to movie houses on weekends to watch U.S. blockbusters not only to get entertainment but to get some encouragement and hope,” said Daniil Dondurei, editor in chief of the Art of Cinema magazine. “American movies teach people to be honest, kind, patriotic, brave, to work hard, be good friends, respect family values and be tolerant – something a Russian series or movie no longer aims at.”
One of the early players in Russia was Shari Redstone, president of Norwood, Mass.-based National Amusements, who launched a chain of luxury multiplex theaters in Russia in 2002 that was recently sold to a local circuit.
“When we first went in, there were very few opportunities for people to have a high-quality moviegoing experience,” Redstone said. “I felt like we could be pioneers in building a transparent exhibition industry in the country.”
National Amusements is expanding rapidly in Latin America, which saw the world’s fastest growth in box-office revenue last year, according to the Motion Picture Assn. of America.
“The purchasing power of the population has really grown over the last four or five years,” said Alejandro Ramirez Magana, director general of Mexican-based Cinepolis, the world’s fourth-largest theater chain. “There aren’t enough theaters in these countries to meet demand.”
To be sure, there are drawbacks in many emerging markets, including currency fluctuations, limited television licensing revenues and rampant piracy, which severely limits the ancillary revenues studios fetch from DVD sales. In China, the government limits the number of foreign theatrical releases each year to about 20.
But even as they count on at least several more years of rapid growth in Brazil, China and Russia, studio executives are eyeing other potential markets, especially India, which has a population of about 1.1 billion. It was the world’s seventh-largest movie market in 2010, with $1.4 billion in box-office grosses. However, most of the ticket sales are currently for locally made Bollywood pictures.
“India could be a fantastic market for us,” said Patrick Wachsberger, co-chairman of Summit Entertainment and a veteran of foreign movie distribution.
Richard Verrier and Ben Fritz reported from Los Angeles; Sergei Loiko reported from Moscow.
Staff writer Rebecca Keegan in Los Angeles contributed to this report.
The New Active Glasses Combine a Stylish Appearance with Exceptional 3D Viewing Performance
[Press Release]
At CineEurope 2011, XPAND 3D is introducing a new generation of active 3D cinema glasses that offer lighter weight, greater transparency and higher performance than any other 3D glasses in the industry. The new XPAND Infinity™ 3D Cinema Glasses offer pristine cinema image quality and long-lasting comfort, making them the ultimate 3D glasses for moviegoers.
The XPAND Infinity 3D Cinema Glasses feature greater transparency, which translates to an improved brightness of 37 percent over the previous models. They offer a contrast ratio of 2000:1, the highest in the market. The Glasses are powered with a replaceable CR2032 coin battery, with a life of 300 hours in Triple Flash mode.
The XPAND Infinity 3D Cinema Glasses are extremely light, weighing only 56 grams. Combined with a stylish and ergonomic design, the Glasses can be worn comfortably for long periods of time. The Glasses come with three nosepieces and are available in two colors: red and black. They can also be equipped with optional RFID tags for anti-theft, allowing theater owners to track and monitor each pair of glasses.
While other 3D systems perform well in the center of the screen but suffer from massive decline in performance as the viewer moves to the left or right from center, the XPAND Infinity 3D Cinema Glasses perform extraordinarily from any viewing angle, ensuring an optimal 3D experience no matter where the viewer is sitting in the cinema.
“While competitors are simply repackaging older technology, XPAND 3D continues to find new and innovative ways to deliver the best 3D experience to cinemas, and the new XPAND Infinity 3D Cinema Glasses exemplify this commitment to innovation,” says Maria Costeira, CEO, XPAND 3D. “The Infinity 3D Cinema Glasses are very light and designed for long-term wearing, and more importantly, they offer greater performance than any other 3D glasses on the market.”
For more information on XPAND 3D glasses, please visit www.xpand.me
XPAND Infinity DeLuxe 3D Glasses and XPANDInfinity 3D Glasses
NO silver screen
for maximal performance throughout the theater
Environment Friendly
each pair of glasses can be used up to 5000 times
Enhanced Brightness
up to 38% transparency
Enhanced Contrast Ratio
up to 3000:1
ZERO ghosting throughout the theater
The XPAND Infinity system can be purchased with two types of premium eyewear: XPAND Infinity 3D Glasses and XPAND Infinity Deluxe 3D Glasses.
XPAND Infinity Deluxe 3D 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 use rechargeable batteries. Their ergonomic design ensures long-wearing comfort.
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.
That consumers or viewers are not yet satisfied with the amount of 3D content that is available is what has come to the fore in a recently conducted survey. What makes it interesting is that nearly 60 percent of the respondents indicated their dissatisfaction at not having enough content to watch on their 3D TVs. What the survey also brought out and what can be considered even more interesting is that even with this lag, the majority of viewers are happy with their 3D TVs due to the clarity of picture that the technology offered and therefore considered the price worth it.
The survey was conducted by NPD and commissioned by the Cable & Telecommunications Association for Marketing under the title “What’s Next for 3D TV?” Consumer’s favorite viewing option on their 3D TVs has turned out to be movies with a whooping 93 percent of respondents confirmed as having used the TV set to watch movies at home. The last such a survey that was carried out in 2010 had also revealed 77 percent viewers voting for sports and movies as the preferred things to watch on 3D TVs. The major difference between the report of 2010 and that for this year is viewers watching 3D TV along with others now though they felt isolated doing the same last year. 64 percent of viewers reported having watched a movie in company while 63 percent indicated of having watched a documentary with family and friends together.
As far as satisfaction ratio goes 87 percent users indicated satisfaction with the picture quality and 60 percent indicated satisfaction over the price they got the 3D TV set. The glasses that one has to use for viewing the 3D effect have also had a change in acceptability amongst the customers. 47 percent of those polled said they are happy with the glasses now and 55 percent even indicated comfort in wearing the glass. The survey did not include any questionnaire on how the viewers are receiving their 3D TV, whether through subscription or via Blu-ray.
Char Beals who is the President and CEO, CTAM said, “Not unlike the rollout of HDTV a few years ago, consumers are still excited about the potential of immersive in-home 3D TV viewing. When HDTV rolled out, there was little hi-def programming available, but the early-adopting consumers were forgiving and willing to wait for the content to further advance. This new data show similar sentiments are mirrored in the rollout of 3DTV, indicating that some analysts maybe judging the demise of the format prematurely.”
It is not only TV sets but many other devices that consumers are going for as a preferred 3D device. The report indicates 21 percent adults preferring to watch 3D movies at home while 17 percent expressed their desire to take photos in 3D and 14 percent for taking 3D videos.
3D TV is however the biggest player when it comes to 3D devices that rules the market. People are not very much aware of the other 3D devices that are available. On the awareness factor 36 percent were aware of 3D LCD TV while only 5 percent were aware of 3D camcorders. On the future buying prospects 14 percent indicated plans for purchasing 3D LCD TV in next six months.
NPD has a Fast Follow-Up Program and it was under its aegis that the research was carried out. Fieldwork for the project took place between April 29 to May 5, 2011 and was comprised of a pre-identified group of 3DTV owners (n=332) and a pre-identified group of HDTV owners (n=577). Only people above 18 years had been included in eth survey.
There may be a more inept film this year than Francesco Gasperoni’s “Parking Lot 3D,” just as there may be life on Mars. Billed as the first commercial live-action 3D Italo feature, the pic is a clunker about a woman trapped in a parking garage and tormented by three guys playing a sadistic game. Poorly scripted, atrociously acted and helmed with zero feel for composition or 3D, Gasperoni’s sophomore effort generates many laughs, none of which are intentional. Despite mostly English-lingo dialogue, “Parking Lot” has the commercial prospects of an Edsel.
Englishwoman-in-Italy Lorna (Harriet MacMasters-Green, wooden) gets locked in a garage and then mysteriously Tasered. On coming to, she sees the message “Lorna Come & Play” on the bathroom wall, beginning a game of cat-and-mouse. Rather than succumbing to nonexistent tension, viewers will be asking: Why can’t she find her car? Attempts at background stories fall flat, while making Lorna a diabetic adds nothing, since the script itself forgets her approaching insulin shock. Gasperoni devised a cheap 3D camera to prove the medium’s economic efficiency, yet his maladroit use of visual planes renders the format pointless.
University of Alabama New College/Telecommunication and Film media production student Xavier Burgin, a senior from Columbus, Miss., was awarded a $5,000 scholarship as winner of the inaugural 3D Movie Award at the Campus MovieFest International Grand Finale, held June 23-26 in Hollywood, Calif.
“Portrait of the Storm” provided an up-close look at the tornado that swept through Tuscaloosa on April 27 and included personal accounts from survivors as scenes of the devastation filled the screen.
“I wanted to make this because this is something the media will talk about for a few months and then move on,” Burgin said. “People start forgetting what happened, but this is still going on. It’s sort of what we’ve seen happen in New Orleans after Hurricane Katrina. And I felt like Alabama and Tuscaloosa especially will at some point have that same problem, so I wanted to bring attention to this plight. Stuff is still happening, we are still rebuilding, and it will be some time before we get back to what we were before.”
Burgin originally won Best Drama for his movie “Bottom of a Glass” at The University of Alabama’s local Campus MovieFest competition in February. His movie competed for awards at the international level, and Burgin, a member of Campus MovieFest’s Distinguished Filmmakers Network (DFN), was offered the opportunity to use a Panasonic 3D camera to enter the first ever student 3D film festival hosted by Campus MovieFest, Panasonic and the International 3D Society (I3DS).
Burgin pitched his original 3D film idea of doing a narrative to the CMF 3D Review Team in early April, but after the tornado hit in Tuscaloosa on April 27, he spoke with the CMF staff and changed his film topic. UA Studio Art student Sumerlin Brandon composed an original score for the film, which will be part of a tornado documentary being prepared by a group of students under the direction of TCF professor Dr. Rachel Raimist.
“The fact that this project was the first-place winner, out of 50 CMF teams selected to compete, is not surprising,” Raimist said. “Xavier told a compelling story with beautifully shot imagery. He merged the strength of 3D (showing dimensionality and depth) with camera movement (achieved using TCF equipment). He borrowed a TCF Glidetrack, a tripod with a tripod head seated atop a sliding rod that you push slowly, to achieve short tracking shots and maximized his ability to take the audience inside the story. Who has ever seen some intimate images of destruction? Who has been so closely and visually inside the aftermath of such a powerful storm? By layering personal narratives through voice-over, with powerful imagery and a beautifully haunting soundtrack, Xavier produced a film that deserved to win.”
“Bottom of a Glass” also competed in the Best Drama category. Other team members were Rene Gromotka, a sophomore from Stuttgart, Germany, majoring in mechanical engineering; and Joe Will Field, a sophomore from Tuscaloosa.
Several other students were awarded top honors at the 2011 Campus MovieFest finale including the teams who created the comedy “Sugarbaby” and the clay animation movie “Blue Barry.”
“Sugarybaby” was honored as a Top 5 Comedy and as one of the Top 28 films out of hundreds at the finale. Students who worked on the film “Sugarbaby” include Andrew Carey, a May 2011 graduate from Mobile who majored in telecommunication and film; Micah Russell, a senior from Huntsville majoring in telecommunications and film; Hamilton Henson, a senior from Toney majoring in telecommunications and film; Kayla Terry, a May 2011 graduate from Tuscaloosa who majored in public relations; and Christopher Dumas, a senior from Mobile majoring in theatre.
“Blue Barry,” was also honored as one of the Top 28 films at the finale. Students who worked on the film “Blue Barry” include Thomas Coiner, a senior from Nixo, Mo., majoring in telecommunication and film; and Sarah Selleck, a senior from Hoover, majoring in nursing.
“I am very proud of all of the TCF media production students who compete in Campus Movie Fest,” Raimist said. “I get excited when TCF students compete in CMF. I see them put the theory and methods that we teach through classroom exercises to the test. I see the students work hard and collaboratively, and I see them make deadlines.”
Campus MovieFest, the world’s largest student film festival, brought together hundreds of students from 75 universities worldwide to compete for Best Picture, Comedy, Drama, Wild Card Audience Choice, Golden Tripod Awards and the first event CMF 3D Award.
The Ferguson Center and Campus MovieFest have partnered together for four years to bring the world-renowned Campus MovieFest student film festival to The University of Alabama campus. The Ferguson Center staff promotes CMF on campus and serves as the location for equipment drop-off and pick up as well as the site for the red carpet finale where the top films on campus are announced.
Money for travel to the International Grand Finale was provided to students by the Ferguson Center, Creative Campus Initiative and the Blount Undergraduate Initiative.
One of the newest forms of cinema is the 3D Blu Ray movies. These are a confusing thing for many parents who are not sure what to do about their children’s ever expanding passion for movies. When the movies are made so realistically, it can be amazing to watch them and they have much more appeal than books to some kids. Here we will discuss some of the reasons why your child may be more attracted to movies, especially 3D Blu Ray movies than they are to books.
One reason your child may be more attracted to 3D Blu Ray movies or 3D movies in general is because they are so realistic. Rather than having to use their imaginations as they do with books, your child can watch these movies and feel like they are part of the action! They do not even have to imagine that they are inside the television set like they used to, rather, the television set is reaching right out to them across the living room.
One of the effects of this realistic experience of 3D Blu Ray movies is that viewer is very stimulated and can get large adrenalin rushes and generally feel like they had a larger-than-life experience. This can be a wonderful thing because some films are made to give you a message that helps you be a better person in this world of sometimes not-so-great people. However, it is also important to be able to read books.
If you want your child to read books instead of watching only 3D Blu Ray movies, all you have to do is set some boundaries. It does not make sense to hold things away from them such as 3D TV or any other form of entertainment. They will just rebel and find it elsewhere. If you tell them that they can watch a 3D Blu Ray movie every time they finish a small book, they may find a niche of literature that they enjoy and then will be able to get the best of both worlds.
Some children love 3D Blu Ray movies because they have a natural passion for cinema and the experience of making movies. By watching as many movies as possible, they will get a better knack for how it is best to write a script or produce a film. This can help them gain lots of creativity and awareness of the world of cinema so they can live out their dreams when it comes time to go to college. This could work out to their advantage!The main lesson is that there are many reasons why a child would love to watch things like 3D Blu Ray movies. It makes perfect sense given the amount of exhilaration that these films can offer. Who would want to do nothing but read books when you have a television that can reach out to you whenever you watch it?
Let’s face it. It’s impossible to keep our children from engaging in the ever-increasing depths of technological advances and preventing them from becoming addicted to its overwhelmingly convenient and thrilling nature. What we can do, however, is allow them to indulge in it while also showing them how to appreciate the real world. Maybe they get to watch their 3D Blu Ray movies after taking a walk in the woods or reading a classic book that you know has good morals. However you do it, strike a balance so that you do not end up with severe whiplash!
Front Wing’s visual novel Time Leap is coming to PlayStation 3. The PC game, which involves the protagonist meeting a younger version of herself.
Time Leap became notable for being one of the visual novels to have 3D character models. The PlayStation 3 version goes a step further and adds support for 3D TVs.
Back in 2009, Time Leap was released on Xbox 360 from publisher Prototype. Time Leap is slated for release on PS3 this fall.
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Posted by Phil Lelyveld
