The most infamous faux pas of the past few decades is the studios’ collective effort to quash the VCR in its infancy, a battle that went all the way up to the Supreme Court in 1980. The videotape and DVD market went on to become a major economic boon to the entertainment industry of the past 30 years. Some things have changed since then; a few have not, says David Wertheimer, CEO of the Entertainment Technology Center at the University of Southern California.

This trend-spotting think tank was founded in 1993 to feed the industry’s need to see around corners, he says. “This is an industry that gets it; they know change is upon them faster than ever,” he says. “But just because they recognize this doesn’t mean they can come up with answers to the question of how to pay for anywhere, anytime free content for everyone.”

Unlike in the past, however, he points out that many individual content creators realize they need to jump into new territory, “even if the money hasn’t been fully penciled in.” He points to such ventures as Hulu.com as a good example of what he calls moderate risk-taking.

Mr. Wertheimer challenges the notion that Hollywood resists new technology for its own sake. “This industry is built on technological innovation, trying out new and creative ways of telling stories,” he says, adding that what’s going on now is an understandable caution when it comes to keeping the lights on. “If nobody is making money, then all the shows we love to watch will go away.”

Google itself, he notes, has had a hard time making money on anything besides its core search business.

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The Entertainment Technology Center at the University of Southern California has launched an online portal dedicated to the stereoscopic 3D industry.

The site, 3D.etcenter.org, features news, listings of 3D events, content releases and broadcast information, links to training and education resources, and a database of market research reports. The site covers all things 3D for movies, sports and games.

“The current surge of interest in 3D content and consumer electronics devices has led to a flood of requests to our lab for information about 3D,” said Phil Lelyveld, product manager for ETC@USC’s consumer 3D Experience Project. “With the support of our member companies, we have established an online resource that we hope will become a key source of information for anyone interested in learning about and keeping up with the latest developments in stereoscopic 3D.”

The site is open to the public, though ETC@USC sponsors have access to additional exclusive information and analysis.

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Direct Link to ETC ResourceCenter

LOS ANGELES (August 17, 2010) –, In response to industry and media demand, The Entertainment Technology Center at the University of Southern California (ETC@USC) announced today that it has created a living, online resource dedicated to stereoscopic 3D. For the last two years the center’s Consumer 3D Experience Lab has housed a world-class collection of 3D displays and demonstration materials, and has been the site of meetings and conferences related to the emerging art, technology, and business of stereoscopic 3D.

“The current surge of interest in 3D content and consumer electronics devices has led to a flood of requests to our Lab for information about 3D,” said Consumer 3D Experience Project
program manager Phil Lelyveld. “With the support of our member companies, we have established an online resource that we hope will become a key source of information for anyone
interested in learning about and keeping up with the latest developments in stereoscopic 3D.”

The resource center called the “Consumer 3D Experience Project” at http://3D.etcenter.org links to current information related to the rapidly evolving 3D entertainment landscape; which includes movies, sports, and video games. The site provides 3D news, information about upcoming events for 3D professionals, content release and broadcast information, links to training and education resources, and a database of information about market research reports. The information, which is available to all, is updated on a daily basis. The site is a great starting point for industry, press, and consumers interested in 3D.

“Because of our expertise in 3D, our access to research, and the ETC@USC’s Consumer 3D Experience Lab, we are able to not only track the latest news and events on 3D, but also offer
up the history and context for 3D moving into the future,” said David Wertheimer, executive director and CEO at ETC@USC. “Our new consumer 3D project site is one of the top places to go if you are looking for the latest information and pointers to the wealth of resources available on 3D content.”

While the information offered by the Consumer 3D Experience Project is accessible to anyone tracking the developments within this area, sponsors of the Entertainment Technology Center are provided with additional exclusive information and analysis. In addition, the ETC@USC works closely with other leading organizations in this field, such as the CEA, Variety, SMPTE, Sports Video Group, the International 3D Society, NAB, etc. to create influential conferences and events about stereoscopic 3D.

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As the industry embraces file-based workflows, numerous stakeholders have identified the need for a specification for an interoperable set of master files and associated metadata, to enable the interchange and automated creation of downstream distribution packages within the motion picture and television production and postproduction industries. This need was already coming into focus at IBC2009. Since then, the Entertainment Technology Center at the University of Southern California (ETC) aimed to address this by hosting a project that joined industry participants including representatives from studios, content creators and additional ETC members. The group recently published a draft spec of an ‘Interoperable Master Format,’ or IMF, which is now available for industry review.

Industry veteran Howard Lukk, who chairs the IMF technical committee, will present the specification during IBC, as the group seeks input and feedback before it submits a draft spec in order to initiate a formal standards-setting process, most likely this autumn. “Before we can do that, however, we need industry feedback and input on the work that the group has done thus far — and hence the distribution of the draft specification to the group of people in the industry that have expressed interest and on the ETC website,” says ETC CEO and executive director David Wertheimer. “Anyone who has interest in this topic should download the draft specification and provide feedback to the group.”

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People used to ask, “What’s going to win, the PC or the TV?” The answer, clearly, is “both.” Gone are the days of trying to do the Web on TV. There is no single-box solution, because consumers don’t want it.

I talk daily with young people about how they are consuming media. They never sit down to watch TV without a laptop on their lap or a smartphone in their hand. Never. That’s because multitasking is the norm, and different devices are better at different things. If we understand consumer desires, we should be celebrating the differences, rather than trying to combine devices to the point of mediocrity.

Nonetheless, connected TVs and TV-connected-devices are a reality. In our Anytime/Anywhere Content Lab at the USC School of Cinematic Arts’ Entertainment Technology Center, we have a slew of devices — TVs, Blu-ray players, game consoles, smartphones and the like — that all connect seamlessly to the Net. Twenty-five percent of TVs shipping today have Internet connections, and soon enough the figure will be close to 100%.

This doesn’t mean that people will want to browse the Web on TV; it means that smart content creators and distributors are going to use those connections in new ways to link content to consumers to information to social networks.

The next big battleground is how companies will connect consumers with content and with each other around content. It’s trending in that direction in a big way, and we’re working with all the major players to understand the implications and lay the groundwork for shared success.

Single companies can innovate, but they often win the battle and lose the war. What we need to do is to work across industry lines to raise the water level for everyone. It will take a village.

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If the success of “Avatar” and the 3-D television sets hitting the market are any indication, we’re in the midst of a 3-D wave, as documented in Amy Chozik’s WSJ article today.Though these movies have been around since the 1920s, the technology is now starting to permeate the video-game and television industries. The question is: Will this last?

On one end of the spectrum, David Wertheimer, CEO and executive director of the Entertainment Technology Center at the University of Southern California, predicts better audience experiences made possible with new technologies will make 3-D a staple of the entertainment industry. And on the other end, Daniel Symmes, co-author of “Amazing 3-D” and president of 3-D Film Preservation Fund, argues the current wave of 3-D is likely a fad and that audiences will grow bored. In separate interviews, the two spoke about the technology and its lasting impact.

Transforming the industry

Mr. Wertheimer said the trajectory in 3-D technology drastically shifted when digital cinema was introduced in 2000. This has led to the recent proliferation of 3-D, as seen with movies such as “Alice in Wonderland,” “Toy Story 3″ and yes, “Avatar.”

With the advent of digital cinema, movies no longer needed two perfectly aligned projectors simultaneously broadcasting two parts of the film for each eye.“Because it’s digital you can align it perfectly,” he said. “It’s a fundamental shift.”

The 3-D experience in the ’50s and ’60s was more of a novelty, he said. If the projectors were off by a little, it would strain the eyes of the audience who could also become nauseated and dizzy.

“The imagery was hard to watch for extended periods of time,” he said. This is why Mr. Wertheimer said 3-D came and went. But because digital cinema doesn’t require two projectors to achieve the 3-D effect, Mr. Wertheimer said the current wave of popularity is here to stay.

“As you see 3-D [today], you overcome this objection from the 3-D you saw back in the ’70s and ’80s,” he said. “That’s why today’s fundamentally different than before.”

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The International 3D Society will be presentng a “3D University” educational series for 3D professionals in association with the Entertainment Technology Center at USC.  The first class is scheduled for July 17, 9 a.m.-3 p.m. at The Walt Disney Studios and will focus on several 3D applications and processes.  The July seminar will concentrate on 3D theory and applications related to basic capture and stereography concepts; shooting sporting and live events; and budgeting and workflow.

A blue-ribbon panel of experts in the educational series will include Phil McNally, Stereoscopic Supervisor, DreamWorks Animation (DWA); Bruce Dobrin, Principal Technology Architect, Sony 3D Technology Center, Sony Corporation of America; Steve Schklair, Founder and CEO, 3ality Digital Systems, the technology and production subsidiary  of  3ality Digital, LLC;   John Nicolard, Head of Digital Production, FotoKem and Phil Lelyveld, Business Development and Strategy Advisor, USC Entertainment Technology Center.

The 3D University series is an immersive, ongoing, stereoscopic 3D education and training program created to improve the core competencies of professional participants.  The courses are offered to Society members and ETC sponsors for free with live demonstrations and discussions.

“We’re pleased to offer Society members this unique opportunity to acquire the latest information available that will help to advance their careers and 3D education,” said Jim Mainard, International 3D Society Vice-Chair and Head of Production Development of DreamWorks Animation (DWA).

Jim Chabin, President of the International 3D Society, added, “I3DS was formed to provide professionals in our industry with ‘a clear path’ to 3D expertise. This first seminar will demonstrate the key 3D Best Practices needed to attain levels of 3D achievement.”

David Wertheimer, Executive Director of ETC, remarked, “We are at an inflection point in the development of the stereoscopic 3D market. Digital 3D technology makes just about anything possible, but there are now far too few individuals who understand the art and nuance of making great 3D.  This series is a tangible leap towards broadening that foundational knowledge throughout the cinema, television, and live events industries.”

The International 3D Society provides community, education, and recognition to its membership and is dedicated to the advancement of Stereoscopic 3D arts and technology.  The Society is the producer of the 3D Technology Awards on October 5, as well as educational programs throughout the year, including the 3D University series.

International 3D Society sponsors include Signature Sponsor XpanD and Founding Sponsors MasterImage 3D, Panasonic Hollywood Lab, DreamWorks Animation (DWA), Dolby, IMAX, and Member Sponsor, Discovery Communications.   For membership or to RSVP, please visit www.international3dsociety.com .

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David Wertheimer, Executive Director of ETC, remarked, “We are at an inflection point in the development of the stereoscopic 3D market. Digital 3D technology makes just about anything possible, but there are now far too few individuals who understand the art and nuance of making great 3D. This series is a tangible leap towards broadening that foundational knowledge throughout the cinema, television, and live events industries.”

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People used to ask, “What’s going to win, the PC or the TV?” The answer, clearly, is “both.” Gone are the days of trying to do the Web on TV. There is no single-box solution, because consumers don’t want it.

I talk daily with young consumers about how they are consuming media. They never sit down to watch TV without a laptop on their lap or a smart phone in their hand. Never. That’s because multitasking is the norm, and different devices are better at different things. If we understand consumer desires, we should be celebrating the differences, rather than trying to combine devices to the point of mediocrity.

Nonetheless, connected TVs and TV-connected-devices are a reality. In our Anytime/Anywhere Content Lab at the USC School of Cinematic Arts’ Entertainment Technology Center, we have a slew of devices — TVs, Blu-ray players, game consoles, smart phones and the like — that all connect seamlessly to the Net. Twenty-five percent of TVs shipping today have Internet connections, and soon enough the figure will be close to 100 percent.

This doesn’t mean that people will want to browse the Web on TV; it means that smart content creators and distributors are going to use those connections in new ways to link content to consumers to information to social networks.

The next big battleground is how companies will connect consumers with content and with each other around content. It’s trending in that direction in a big way, and we’re working with all the major players to understand the implications and lay the groundwork for shared success. Single companies can innovate, but they often win the battle and lose the war. What we need to do is to work across industry lines to raise the water level for everyone. It will take a village.

David Wertheimer, executive director of the Entertainment Technology Center at the USC School of Cinematic Arts, is an expert on digital content, Internet media consumption and the future of entertainment.

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David Wertheimer, the chief executive of the University of Southern California’s EntertainmentTechnology Center and the former president of Paramount Digital Entertainment, said artistic obstacles sometimes prevented films from being successfully converted into 3-D.

“Most people don’t realize that there is an ‘art’ to making great 3-D,” Wertheimer said in comments emailed to AFP. “It’s not just about the technology and creating a second eye view.

“Most 3-D films being distributed today have 3-D in mind from conception. The shots in those films are being staged and framed differently.

“They’re being edited differently to maximize the ‘effect’ that the depth has on the story and the experience.

“The problem with converting live action movies from 2-D to 3-D is that some of the creative choices that the director and DP (director of photography) originally made are different from how you would want them in 3-D.

“It is sometimes impossible to make comfortable 3-D out of 2-D shots that are framed in a certain fashion. So, it’s an entirely new creative process in converting that film to 3-D.”

Yet Wertheimer believes classic films such as “Star Wars” and “Titanic” could be successfully converted provided the makers of the original films are closely involved in the process.

“In the hands of the original creators, the likelihood of success is great (assuming enough time and budget to do it right),” he wrote.

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