The highly anticipated 3D and future trend domain auction date has been announced.
the auction will be held in conjunction with Stephen douglas of (www.successclick.com) and www.moniker.com the auction will run from Wednesday, August 24 Noon ET (9:00 am PT) untill Tuesday, August 30 3:15 pm ET (12:15 pm PT),
Within this auction will be new advancing technologies some of which you may not even have heard of yet and will open the doors up to new domainers and give a chance to grab some domains which in the future will be worth a lot more when the technology matures.
Each name will have a 150 word description and links to articles or news relating to the domain to show buyers why the name will be valuable in the future,This auction is the first of its kind and we will be watching it closely with anticipation if successfull it could turn around a stale and dormant domain industry
The catalogue can be seen at

http://showcase.snapnames.com/2011/08/future-trend-domain-auction-auction

This will be updated right up to the time of the auction with new names and eventually we are promised there will be a pdf format to download

Backed by major Hollywood studios and electronics manufacturers, a brand new market has opened for the taking – one expected to bring in $25 billion by the end of 2012. However, the industry-wide transition to stereoscopic 3D is not without challenges – especially in the television market.
Keith Andrews, CEO of Global Television Australia told Encore that one of the biggest issues is live sporting broadcasts – which so far have been a major selling point for 3D television sets.
“Live sport is particularly challenging and complex to produce in 3D. The action is fast-paced and often unpredictable and the environment is difficult to control,” he explained.
According to Andrews, it is an extremely difficult production process. “Every live 3D sport broadcast requires both 2D and 3D camera rigs, as well as separate directors and producers, because the capture and direction techniques are very different. For example, 3D relies on depth to convey the picture. It also uses more wide shots and far fewer quick switches between cameras and ‘wipes’, which in 3D can make the viewer feel nauseous.
“Aside from the need to duplicate production teams, 3D also requires specialist roles including those of stereographer and convergence operator. In live sport the position of 3D cameras can sometimes be a compromise due to venue set-up and the need to collocate camera rigs. For example, cameras may need to be positioned high up in a venue, which in some cases can reduce the perception of depth the cameras capture and/or miniaturise the action.”
News broadcasts are somewhat simpler and far more manageable, because the filming environment is fairly static and there’s much more control.

“The action is usually not as fast-paced as in live sport, and the pace and flow of the production are to a pre-set run-down. The lighting, sound and studio environment can also be managed, and there is more flexibility over seating and camera positions,” he added.

Although slow, demand will continue to grow. But Andrews says long-term 3D TV broadcasting will depend on content – but this becoming a reality isn’t far away. “The appetite for live 3D sport and concert broadcasts in the US and Europe has increased year on year. We expect Australian audiences will similarly embrace such events once more content is available. Global Television is talking to a number of companies
about producing more local 3D content. Already, the cost of 3D-enabled television sets is tumbling, and it’s only a matter of time before the content increases.”
According to Andrews, 3D broadcast will have many positives for Australia’s television and entertainment industries: “These range from the creation of new content and jobs, to investment in training and technological development. Internationally, the amount of 3D production in film, gaming and television is steadily increasing. That momentum will help make 3D more and more relevant in Australia.”
3D CAMERAS FOR EVERYONE
A fundamental element in the explosion of 3D is that cameras are becoming more attainable. With the release of Panasonic’s AG-3DA1 and SDT-750, as well as other consumer and prosumer cameras from other manufacturers (such as Fuji’s FinePix 3D W3), shooting 3D is no longer only available to large productions.
The introduction of such feasible options will revolutionise the process and Mathew Alexander, product manager for Panasonic Australia described the benefits: “These cameras are aimed at filmmakers producing content for television, documentaries, corporate work or other formats where a portable option is preferable. Traditionally, 3D cameras have been predominantly used for shooting films and, as such, necessitated big, expensive and cumbersome equipment. However, these cameras are lightweight and affordable options. On the consumer side, the introduction of these cameras means that people can now capture their own memories and see them come to life in immersive, lifelike images right in their own homes, further expanding the enjoyment of 3D in the home.” He continued: “The demand for 3D content is creating a range of exciting new opportunities. With the availability of these new cameras, cinematographers now have the tool they need to capitalise on this.”
The democratisation of 3D production has seen a number of Australian filmmakers working on stereoscopic short film, and has even reached the lower end of screen production – the corporate and wedding video sectors. Abraham Joffe from Untitled Film Works shot Australia’s first 3D wedding, and told Encore it was a complex experience and a completely different approach to normal 2D shooting.
“The biggest change to shooting was definitely the minimum distance required to obtain an acceptable image. Anything closer than about two meters doesn’t work.” He added that the biggest challenge was to completely eliminate partial shots – something extremely hard to do at a wedding shoot.
“It’s what’s called window violations. If part of an object is hidden by the edge of the frame, and another part is in front of the screen, it will result in an uncomfortable 3D image. We often compose shots using shoulders on edge of frame or other partial views, so we had to make sure these didn’t happen. It’s probably the worst result possible when shooting 3D if you leave something hanging on the edge of frame – the viewer’s eyes actually hurt! For events where you are much more limited in your control or people and objects – it’s a tough ask,” he said.
Whilst 3D weddings are popular, the demand is not quite there yet “It’s early days. Most people are waiting for the second generation of 3D displays, so there is almost no demand in that field for now. But I am sure as
it develops further and people see more 3D productions that they love, the demand will appear. Once 3D comes included in any TV (like HD is now) that will certainly help. Auto-stereoscopic displays are on the horizon, and this will have a big change in how people react to the prospect of having to wear glasses.”
However Joffe explained that should demand increase; market potential for corporate productions is far more viable: “I see far more potential in corporate productions. And that will be who has the budget for 3D early on. A 3D wedding package would need to start at $10,000; you will need a crew of at least three to run a successful shoot. We always shoot multicam, so the capital start up cost is pretty hefty. The rental production
houses will do well at the start I predict.

Alexander foresees a bright future for 3D. “In a very short time, we have gone from groundbreaking, one-off movies such as Avatar, to seeing television shows broadcast in 3D. Australian cinematographers are amongst the most accomplished filmmakers anywhere in the world, and have picked up the requisite 3D skills very quickly. We expect to see some stunning content coming out of Australia over the next few years.”
Joffe predicts the technology will swiftly adapt to demand.

“The market always has a way of correcting itself, so with the array of 3D cameras and systems on their way, I’m sure we’ll see all aspects of the market getting involved. I’m certain that some very creative uses of 3D
that have not been conceived yet are bound to emerge,” he said.
While it is still unclear if – or when – 3D will become the norm, the key point of difference is still a human quality.
“At the end of the day, we all know it’s the producer, not the tools which make quality work – and I believe that will always be the case,” added Joffe.

The race for bringing 3D films to mass audiences began a few years ago with James Cameron’s blockbuster “Avatar,” the highest grossing film of all time. That film was quickly followed by movies such as Tim Burton’s “Alice in Wonderland,” and the slasher film “Saw.”

At the moment, however, the film on everyone’s radar at the Berlin festival is “Pina,” an extraordinary art house 3D documentary film about the legendary German choreographer Pina Bausch.

German director Wim Wenders, whose classics include “Wings of Desire” and “Buena Vista Social Club,” has chosen for his latest film to interpret modern dance using the technological innovation of stereoscopic cinematography.

Wenders told Xinhua about his inspiration for choosing the aesthetic of 3D to film the choreography of Bausch.

“This film was driven by the need to make her art shine,” Wenders said. “For so long…I always felt there was a wall between what I saw on stage and what my cameras saw. I waited for a revelation and the fact that it came in the form of technology was almost a shock to me. It was the dimension of space that was missing.”

3D photography uses special cameras to record two perspectives, left eye and right eye, to create the depth illusion of a three-dimensional image.

The cinematic use of 3D technology, or stereoscopic photography, dates back to the early 1900s and was originally pioneered in the Lumiere brothers’ film “The Arrival of a Train at La Ciotat.”

The Lumieres were able to capture the image using rudimentary 3D, but were not able to screen the film in 3D.

At the European Film Market, the first film market of the year, there were around 30 films screened in 3D, while last year there were just 11.

Becky Probst, managing director of the EFM, said she has her reservations about 3D movies.

“Avatar was a revolution but I think Wim Winder’s ‘Pina’ is a work of art. It’s an event. If 3D remains to create events, that will bring the shimmer to the industry but if 3D gets vulgar and misused, I think it’s going to be the death of 3D.”

On the floor at the EFM, the novelty of the trend caused buyers to circle around distributors offering a taste of 3D.

Bridget Pedgrift, marketing director of Protagonist Films, felt that one of the reasons her booth at the EFM had steady foot traffic was the 3D films they were offering. Last year the company sold Street Dance 3D.

“When we had ‘Street Dance’ last year, there was a huge amount of interest,” Pedgrift said. “That was at the beginning of the 3D revolution. Now we find that 3D is embedded in everyone’s psyche. You need to have a really strong film. You are not selling just on the fact that it is 3D.”

Erwin Schmidt, the 3D producer on “Pina,” told Xinhua that “for us, the incentive of earning more money was non-existent.”

“There were only 25 screens on the market when we got into this,” Schmidt said.

There is no shortage of discussion, speculation or opinion about the latest trend to wallop the film industry. There are, however, too few cinema houses with adequate projection and screen capabilities.

Festival attendee Margarete Semenowicz really enjoyed the French film “Tales Of The Night,” which played in competition combining silhouette animation and 3D technology to tell the story.

“Right now it is very expensive to see 3D, because very few cinemas have it, but I think it’s a good technology and I wish more movie directors would use it,” Semenowicz said.

Wenders, whose art house film “Pina” will be released both in 2D and 3D, said the craft of 3D still has a long way to go but “we wanted to make the 3D disappear, and make itself invisible.”

For the moment, 3D is anything but invisible. Audiences can enjoy the marvels of 3D films until the festival ends Feb. 20.

http://www.blog3d.co.uk/?p=198

Stretch Armstrong
Godzilla
Summer 2012: Newt
March 30, 2012: The Croods
May 18, 2012: Madagascar 3
May 25, 2012: Men in Black 3
June 15, 2012: Brave
July 3, 2012: Untitled Spider-man Reboot
July 20, 2012: Untitled Batman Project
September 21, 2012: Hotel Transylvania
November 2, 2012: The Guardians

The Cabin in the Woods
The Green Hornet
February 4, 2011: Sanctum
February 11, 2011: Drive Angry
March 11, 2011: Mars Needs Moms!
March 25, 2011: Sucker Punch!
April 8, 2011: Rio
April 15, 2011: The Three Musketeers 3D
May 6, 2011: Thor
May 13, 2011Priest
May 20, 2011: Pirates of the Caribbean: on Stranger Tides
May 26, 2011: Kung Fu Panda: the Kaboom of Doom
June 17, 2011: The Green Lantern
June 24, 2011: Cars 2
July 15, 2011: Harry Potter and the Deathly Hallows: Part 2
July 22, 2011: Captain America: the First Avenger
August 3, 2011: Smurfs 3D
August 19, 2011: Spy Kids 4: All the Time in the World
August 26, 2011: Final Destination 5
September 23, 2011: Journey to the Center of the Earth 2
October 21, 2011: Contagion
November 4, 2011: Puss in Boots
November 11, 2011: Arthur Christmas
November 18, 2011: Happy Feet 2 in 3D
December 9, 2011: The Invention of Hugo Cabret
December 16, 2011: Alvin and the Chipmunks: Chip-Wrecked
December 23, 2011: The Adventures of Tintin: Secret of the Unicorn

In-Stat’s latest research is one of the first reports to discuss the opportunities for 3D in mobile devices. It will include a discussion on key 3D technology suppliers, as well as the different types of 3D technology available today. This research will also include worldwide shipment forecasts for smartphones, handheld game consoles, tablet PCs, notebook PCs, digital photo frames, and portable media players, and include In-Stat’s expectations for what percent of those mobile device markets will be 3D-enabled. Finally, an in-depth discussion on key market drivers and challenges for 3D mobile devices is included.

Vincent Teulade, director, PwC, and author of the report said:

“Twelve months ago the industry was grappling with some fairly major issues. However, some of these major issues have been resolved including standardisation with the definition of a 3D Blu-Ray standard and the progress on HDMI1.4. Also Avatar’s record breaking success has raised awareness of 3D and created an appetite by consumers for 3D movies.”

Watching the programmes

The growth of the 3D industry still has some challenges to overcome. Despite 3D films generating considerable revenues for the film theatre operators, the cost of converting from traditional prints to digital is still a major expense. However, the conversion of the theatres is the direction the industry is moving towards.

A high revenue generating 3D film also impacts the sales of DVDs and, in the case of high grossing 3D films, sales of DVDs have also increased. High DVD sales continue to be critical to the economics of film production as they have the ability to generate over half the total revenues of a film.

The market for 3D televisions is less developed than that of the film industry and the affordability of the TV sets is a major factor impacting the growth of the sector. However, the prices are beginning to fall and that, together with the availability of attractive 3D content, is helping to grow the market. But the wearing of 3D glasses to watch programmes is still a major issue. The major sporting events such as the Olympics and football World Cups also have an impact on the sales of TV as viewers, unable to attend the events in person, willingly pay for the 3D experience.

Many market sources also feel that there is a natural fit between video games and 3D as the players demand immersive game play. But at the moment, 3D reduces both the resolution and the frame rate so there’s reluctance, both from the industry and consumers, to increase the production of 3D video games.

New frontiers

The mass market potential of 3D entertainment still remains unclear. But there is potential across all delivery channels:

3D films: we anticipate that by 2015, 15 per cent of new films will have a 3D version. The major Hollywood studios are predicting that 25 per cent of their films will have a 3D version but the smaller studios will struggle with 3D. The production of 3D films in Europe, China, India and Japan will also increase. There is also expected to be 100 per cent adoption of digital distribution among the multiplex and large urban theatres in the medium term.

3D television: the current offerings of 3D TV will continue to increase as prices for the TV sets continues to fall and we expect TV promotional campaigns around major sporting events such as the London 2012 Olympics to be in 3D.

3D video games: Some consoles can already be upgraded and used to play 3D games. But the real increase in the availability of 3D games will be seen when the next-generation of consoles is available.

3D PC: 3D Internet content will develop but its adoption is expected to remain limited to the early-adopter segment. There are 3D-ready laptops already available but the price premium they command limits their market attractiveness.

3D mobile phones: there are still problems with the interoperability among the different standards ie a 3D picture captured on one model cannot be displayed on a 3D model from a different manufacturer. But the first 3D auto-stereoscopic mobile phones are already available in Japan and will be introduced in Europe and the US shortly. The introduction of 3D portable phone game consoles (such as Nintendo 3DS), scheduled for release in February 2011, will boost 3D mobile penetration.

Added Teulade:

“The opportunities and possibilities for 3D continue to generate great excitement within the industry, with many companies predicting increased revenues from 3D. But, in their attempts to make money and adopt 3D universally, the industry must ensure that they continue to deliver high quality content. If the quality drops so does the consumers’ enthusiasm for 3D and their willingness to pay a premium for the experience.”