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probably the number-one element right now<br />
that we’re excited about. As the filmmakers get<br />
better using this tech, there are a lot of markets<br />
just discovering it.’’<br />
Advocates argue that the artistry of 3D is<br />
improving as well. With more of Hollywood’s<br />
top directors choosing to make movies in 3D,<br />
the format may be poised to attract new converts<br />
among consumers who were turned off by<br />
a glut of poorly conceived projects that followed<br />
the success of Avatar. Auteur-driven films<br />
like Peter Jackson’s second Hobbit movie and<br />
Gravity, ranked fifth and eighth respectively in<br />
worldwide sales last year, have lifted the quality<br />
of storytelling and the look of 3D. Gravity was<br />
nominated for 10 Academy Awards, including<br />
Best Director and Best Actress for Bullock. Last<br />
year Ang Lee won the Best Director Oscar for<br />
the live-action fantasy Life of Pi.<br />
“It has really matured significantly,” says<br />
Barry Sandrew, founder and chief technology<br />
officer of Legend3D Inc., a special effects and<br />
conversion company whose credits include<br />
Life of Pi and The Amazing Spider-Man. “We’re<br />
seeing a broader range of genre. We’re seeing it<br />
in Hugo, Life of Pi, and The Great Gatsby.”<br />
The format can use the boost, particularly<br />
in the United States. Last year 3D admissions<br />
declined as much as 15 percent, costing studios<br />
and exhibitors $140 million to $220 million in<br />
potential revenue, according to B. Riley analyst<br />
New Zealand director Peter Jackson is<br />
a strong proponent of 3D technology<br />
in addition to HFR presentation. James<br />
Cameron his considering shooting and<br />
exhibiting the Avatar sequels at a high<br />
frame rate.<br />
Eric Wold. He blames the drop on an overly<br />
crowded 3D calendar and, in particular, too<br />
many animated films.<br />
Foreign audiences have embraced 3D more<br />
enthusiastically. About 342 million tickets<br />
were sold for 3D screenings outside the United<br />
States last year, compared with about 184<br />
million domestically, according to MasterImage.<br />
Opportunities for filmmakers and equipment<br />
suppliers are especially bright in emerging markets,<br />
says Chris Ward, president of LightSpeed<br />
Design Inc. The Bellevue, Washington–based<br />
company’s 3D polarization equipment is used to<br />
enhance images on 1,400 screens worldwide.<br />
Consumers overseas “tend to be a little more<br />
open-minded, a little less jaded,” he says. “People<br />
in these places are very excited about having<br />
a better product. It’s an affordable luxury.”<br />
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MARCH <strong>2014</strong> BoxOffice ® <strong>Pro</strong> The Business of Movies 29
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