With the lack of great experiences, I wouldn't be surprised if viewers catch on quickly, and 3D loses its cachet with each new movie. Even worse are the films that are converted to 3D after the production, such as the horrible version of "Clash of the Titans," which became the poster-child for poor 3D adaptations. Of course, there are some 3D films that fare decently, particularly computer-generated films often geared toward children.īut for a lot of the blockbusters that generate intense hype and curiosity, such as Spider-Man and Prometheus, customers are beginning to realize that 3D is a cash grab for the studios that adds little to the experience. I actually want to get something for that higher ticket price. But was "Avengers" in 3D really worth it? As a result of 3D, films such as "The Avengers" have sped past the records. An IMAX 3D screening costs $20, a 43 percent premium. In New York, a normal ticket costs $14, while a 3D film costs $18, or 28 percent more.
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The 3D option has been a huge financial boon to the film industry, allowing movie theaters to justify higher ticket prices. In both cases, the studios are burning a lot of good will with the audience. Schklair, who hasn't had a chance to screen "Spider-Man," criticized the studios for remaining conservative with the 3D effects, or relying on the post-production conversion model. "I actually want to get something for that higher ticket price," Schklair told me. Schklair was perfectly frank in his assessment of 3D movies, saying he wouldn't pay for one that didn't have a substantially different feel than a normal 2D movie.įor "Prometheus," 3D is another instance of an unnecessary expense for the audience. That's lost revenue for each screening of a hit film. A deeper 3D movie requires viewers to sit further back, which means theaters can't sell tickets to the first few rows, Schklair said. The studios also want to pack in as many people into the theaters as possible. The other option for viewers sensitive to 3D films is to skip it altogether for the 2D version instead. Schklair said the new technology doesn't suffer from the same problems, and said the depth could be doubled or tripled with little consequence. Early 3D films feature more dramatic 3D effects, which was uncomfortable for some viewers. They tend to be conservative partly because they don't fear that audience members will complain about discomfort.
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"The Amazing Spider-Man" looks great, but the 3D isn't necessary. Most live-action films now shoot at a depth of about a half percent, which barely registers with viewers. Steve Schklair, CEO of 3ality, said that 3D films can use about 4 percent of the screen's width for its depth, with 2 percent providing a decent effect.
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The problem: studios have been too conservative, and have been reluctant to go too deep with the 3D, resulting in a 3D movie that doesn't satisfy anyone. Its stereo image processor, or SIP, camera rig allows production companies and studios to shoot 3D more easily, shoot on the same schedule as a 2D camera, and push the limits on what they can deliver.
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I highlight these two films because they are the first to use a new kind of 3D camera technology from 3ality, which is quickly becoming a standard for filmmakers looking to delve into the third dimension. While both are visually interesting films ("Prometheus" is confusing, and "Spider-Man" is a bit disappointing), the 3D aspect does nothing to enhance the experience.
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I got to screen two recent films, "Prometheus" and "The Amazing Spider-Man," in 3D, and my advice to you is to save your money on paying extra for those glasses. For many films, the 3D effects are barely there in others, the post-production conversion actually makes it worse. You've probably experienced it yourself: After slapping down a significant premium on movie tickets and sliding on your 3D glasses, you're treated not to a visual feast but a feeling of intense dissatisfaction. The current wave of 3D films is a sucker's bet. "The Amazing Spider-Man" director Marc Webb with a new kind of 3D camera.