We don’t live in a 2D world, so why do we produce spots in two dimensions? It’s like living with one eye shut.
We’ve come a long way from cardboard glasses and the humble origins of the ever-evolving 3D medium. The two-toned colored glasses have been updated to new polarized versions (soon to go away altogether), while the headaches and eyestrain are as over as Don Draper’s marriage.
Thanks to Avatar, the $2.8 billion cinema juggernaut, 3D movies continue to proliferate in cinemas across the globe on a weekly basis. This summer, Pirates of the Caribbean, Transformers 3, and the final installment of Harry Potter will each do $1 billion-plus business worldwide–but will your clients be taking advantage of this, likely the biggest summer in box office history?
Broadcasters are now grabbing a piece of this new and improved digital action: Last June ESPN 3D geared up to host the FIFA world cup in all its hyper-crisp glory, the BBC is discussing shooting the 2012 Olympics in 3D and Discovery/IMAX/Sony are now surfing the immersive wave with 3Net. Idle chatter among consumers invariably focuses on live sports, real-time concerts and big budget films.
Surprising then, that among advertisers, it’s mainly a few big brands who have made the jump. Pepsi, Coke, Toyota, Sony, Armani, and Mazda are among these digital 3D pioneers. Also hard to fathom is that a mere few dozen or so 3D commercials currently exist. Out of this batch, my company, Geneva Film Co., has produced a good share including the most recent 3D spots for Lexus, Sprint and award winner tema.ca.
Why are so many medium and smaller agencies still wary of committing to 3D? Whether speaking at Cannes Lions, in London, LA, or Singapore in the last few years, I’ve come to realize that most simply need more information. Once you know the costs involved, know how 3D actually works, and glimpse the storytelling potential, you understand the power of this new dimension.
First: a basic point. 3D commercials can still be played in 2D – launching a campaign in both formats helps the wide release. This option preserves the huge 3D “wow ” factor while maintaining the penetration of 2D.
Second: cost. For live action 3D production, the estimate is 10 to 25 percent more than shooting a typical spot in 2D or “flat”. For bigger budget campaigns, 3D will cost less because you’re already investing in higher production value. Given the entire workflow is digital (acquisition to post to projection), expect some upfront costs here too.
Third: creative. Careful storyboarding is crucial–creatives need to gauge how much 3D to use, in other words, to quantify the “depth budget”. Knowing how much 3D should take place in front of the screen (negative parallax) versus behind the screen (positive parallax) will help you board your script. Depth budgets are also influenced by story genre and demographic. Kids love dodging stuff flying off the screen; comedies are well served by shooting up-close-and-personal gags. Likewise, let your driver steer the new car, and let the audience experience it in an immersive way.
Live action 3D requires two cameras–each replicating the view of one eye. By moving the cameras closer together or farther apart, or by pointing them slightly inwards or outwards it’s possible to create all kinds of very powerful feelings. Bottom line, we all know emotionally charged content is the basis for every great spot. The intensity, immediacy and raw visceral impact of shooting 3D takes this to a new level.
Lastly, think there are not enough 3D TVs on the market? In 2010 alone, there were 6 million 3D TVs sold. It took HD six years to hit that mark. Within a short time, all TVs will be 3D compatible — just as they are digital and surround sound. Tablets and phones are also going 3D this year (without the glasses), and viewer retention of 3D spots is 15%-20% higher than 2D.
Here’s the deal: If lack of knowledge around budgeting and production is preventing you from producing spots in 3D, ultimately, the price you’ll pay for missing the opportunity will be too high. So open both eyes and don’t get left in the land of the “Flatties”.
James Stewart is a director and founder of Geneva Film Co. a Toronto-based global leader in 3D commercial production. When he is not on set, he is regular presenter on 3D at conferences like TED2011, SHOOT’s Directors/Producers Forum, and Cannes. He will next be opening eyes and maybe yours at Cannes Lions 2011.
