“Technology and Entertainment: Hollywood’s Future”

A Panel with Craig Tanner, Director/Executive Producer and President/Co-founder of Digital Revolution Studios; Tim Disney, Executive Producer, The Last Mountain; and Ed Lantz, President and CTO, Vortex Immersion Media; and hosted by Lew Douglas, President, Lewis Douglas Consulting, and Board Member, Exodus Film Group

LD: 3D: Is it here to stay or just a gimmick?

CT: Yes, among younger generation, who wants to see 3D gaming, content and will expect it. Bad material in 3D is still bad material. Content creators must make something that people want. But it’s here to stay through many vehicles.

EL: 3D has been an amazing success story. 3D has come and gone in the past, but now directors and producers are taking it seriously as an art form. Its come really fast and there’s been a lot fo investment in it, but think its here to stay and will be hard to find a 2d highend tv.

TD: Here to stay. Tremendous interest in all kinds of stuff that they’re watching on netflix, so there’s immense pressure to make the theatrical experience a premium viewing experience.

LD: Does it create value in the process of using storytelling?

EL: A good film will lull you into habituation, then spring it back to life. Greater immersion, greater realism are leading us into new territory and will require new storytelling modalities.

TD: Disneyland uses lowtech things like wind in your face to simulate experiences. We’ll see more little indicators that the experience you’re having is real. But as long as you have to make a 2d and 3d version, it makes it difficult to fully integrate 3D.

CT: It’s still the wild west of 3d. No standards, let’s just try it. If it breaks, we’ll do it another way. Avatar took a long time to make because there was no roadmap. Trying to make people jump as an in-your-face experience is the wrong approach; should be more subtle, more integrative. Adding another dimension– golf is enjoyable to watch in 3D.

TD: Never made a 3D movie, but technology will make its way into documentary film.

EL: When you sit off axis, it ruins things.

LD: Do you think that the giant format you’re working with is competitive with 3d?

EL: Doesn’t compare. It’s a unique experience. Much more consuming on a film medium. Some scenes make people leave.

TD: some scenes may be too much to put on the huge screen.

CT: Things are a little slower in 3D from an editorial perspective. Shots are longer, the film breathes a little bit. More fluid.

LD: 2D to 3D conversions?

CT: Conversions aren’t always great — prices are very high. Worthwhile for blockbusters, but not necessarily for all films, that weren’t perceived in 3D or shot with 3D in mind. But tech is improving.

EL: It’s a tool. If its done well, it can work. If its not done well, it can hurt your eyes. There is concern about over-conversion, because if there are too many cruddy conversions it will harm the entire industry.

CT: It’s most important to make good content that people want to watch.

LD: What about 3D and gaming?

EL: Company is working on a movie experience where you can go into worlds like avatar in podlike gaming cubes after seeing a movie and engage in and interact with that world.

Simon Hackett: When will non-glasses based 3D tvs be available?

CT: They’re here, just not accessible to the average consumer yet.