3d moives project.pdf
TRANSCRIPT
KARNATAKA STATE OPEN UNIVERSITY
MANASA GANGOTHRI M Y S O R E -570006 DEPARTMENT OF COMMERCE AND MANAGEMENT
Date:
BONAFIDE CERTIFICATE
This is to certify that Smt/Sri Syed Fahad Bin Khalid bearing the register
number: 1 3 2 4 7 1 D M B A 0 4 3 7 has successfully completed the
project work on ―3D MOVIES’’.under the guidance of Sri/Smt Sadaf
Hashmi
The project report is submitted to the Karnataka State Open University
in partial fulfillment of the requirement for the award of Degree,
Master¶s of Business Administration (MBA) during the year 2013-2015
sign sign sign
(Director, CMTE) Dr. /Prof Dr. /Prof
Stamp (Project Guide) External Examiner
UNDERSTANDING AND EVALUATING THE PERCEPTION AND
ATTITUDE OF VIEWERS TOWARDS 3D MOVIES
A PROJECT REPORT
Under the guidance Of
Prof. Sadaf Hashmi
in partial fulfillment o f the requirement for the award of the degree Of
MBA
Sayed Fahad Bin Khalid
(Roll No. 132471DMBA0437)
Management Department
Karnataka State Open University
Manasagangotri, Mysore – 570006
Karnataka
(2015)
Centre For Management & Technical Education
Study Centre @ Smt. MMK College, Bandra West, Mumbai -50
Acknowledgement
I wish to express my gratitude to all those who have helped to make this project a success.
I would like to thank Prof. Sweety Gandhi and Prof. Deepak Gupta without their guidance
and support this project would not have been possible. Also I would like to thank my guide
Prof. Sadaf Hashmi who has provided us with the necessary infrastructure and guidance in
the course of the project. Also I would like to take this opportunity to thank all the teaching
as well as non-teaching staff for their continuous help and support.
Signature of the Student
Name of the student – Syed Fahad Bin Khalid
Roll No – 132471DMBA0437
DECLARATION
I here by declare that the research work embodied in the dissertation
entitled ―Understanding and Evaluating the Perception and Attitude of Viewers towards
3d Movies‖ has been carried out by me under the guidance and supervision of Prof. Sadaf
Hashmi, Visiting Faculty(Finance), CMTE, Mumbai.
I also declare that this dissertation has not been submitted to any university/Institution for the
award of any Degree/Diploma.
Place: Mumbai Syed Fahad Bin Khalid
Date: REG. NO: 132471DMBA0437
EXECUTIVE SUMMARY
Since the introduction of television, much has been done to improve the overall experience of
viewers. Improvements in color, picture quality, sound quality, and increasing involvement
based on larger screen sizes have contributed to a better overall viewing experience. A logical
next step is the introduction of three-dimensional television enabling people to watch their
content in three dimensions. Proponents of 3D-TV have argued that it will bring the viewer a
whole new experience, a fundamental change in the character of the image, not just an
enhancement of quality
Comparisons between television sets are done quite regularly on perceptual and/or technical
aspects to determine where to put future investments. The performance of a 3D television
system is often evaluated using 2D image quality models. Earlier research in this area
defined some dominant perceptual factors affecting 2D image quality, for instance, blur,
brightness, color, blockiness, or noise. Psychophysical scaling experiments are used to
quantify the strengths of these artifacts. People use perceptual rules to combine the measured
strengths into a prediction of the overall image quality. This project investigates whether 2D
image quality models are sufficiently adequate to measure 3D quality because typical
stereoscopic distortions and the depth reproduction are not incorporated in 2D image quality
models. The aim of this project is to understand, measure and eventually, model and predict
the 3D ’Visual Experience’.
TABLE OF CONTENT
Chapter 1 – Introduction ........................................................................................................ 8
1.1 Early patents and tests……………………………………………………………….
1.2 Early systems of stereoscopic filmmaking …………………………………………
1.3 Introduction of Polaroid…………………………………………………………….
1.4 Mainstream resurgence……………………………………………………………..
Chapter 2 – Techniques…………………………………………………………………..
2.1 Producing 3D films…………………………………………………………………
2.2 Live action………………………………………………………………………
2.3 Animation…………………………………………………………………….
2.4 2D to 3D conversion………………………………………………………….
Chapter 3 – Displaying 3D films………………………………………………………...
3.1 Anaglyph…………………………………………………………………………..
3.2 Polarization systems…………………………………………………………….
3.3 Eclipse method………………………………………………………………….
3.4 Interference filter technology…………………………………………………..
3.5 Autostereos copy………………………………………………………………..
Chapter 4– Image Quality……………………………………………………… .
4.1 Image Quality Modeling…………………………………………………….
4.2 3D Image Quality……………………………………………………………..
Chapter 5 – Top 3D Movies in India
5.1 3D Hollywood Movies…………………………………………………………..
5.2 3D Bollywood Movies…………………………………………………………..
Chapter 6 – Research Methodology………………………………………………..
6.1 Need for the Study………………………………………………………
6.2 Research Objectives……………………………………………………
6.3 Sample Size……………………………………………………………
6.4 Tools for Data Collection………………………………………………
Chapter 7 – Data Analysis and Interpretation…………………………
Chapter 8 – Suggestions and Recommendations..............................................................
8.1 Summary of the Analysis……………………………………………..
8.2 Recommendations…………………………………………………..
Chapter 9 – Conclusion…………………………………………………..
Chapter 10 – Bibliography, References and Annexure........................
Chapter 1 – Introduction
A 3D or 3-D (three-dimensional film or S3D (stereoscopic 3D) film is a motion picture that
enhances the illusion of depth perception. Derived from stereoscopic photography, a regular
motion picture camera system is used to record the images as seen from two perspectives
(or computer-generated imagery generates the two perspectives in post-production), and
special projection hardware and/or eyewear are used to provide the illusion of depth when
viewing the film. 3D films are not limited to feature film theatrical releases; television
broadcasts and direct-to-video films have also incorporated similar methods, especially
since 3D television and Blu-ray 3D.
3D films have existed in some form since 1915, but had been largely relegated to a niche in
the motion picture industry because of the costly hardware and processes required to produce
and display a 3D film, and the lack of a standardized format for all segments of the
entertainment business. Nonetheless, 3D films were prominently featured in the 1950s in
American cinema, and later experienced a worldwide resurgence in the 1980s and 1990s
driven by IMAX high-end theaters and Disney themed-venues. 3D films became more and
more successful throughout the 2000s, culminating in the unprecedented success of 3D
presentations of Avatar in December 2009 and January 2010.
1.1 Early patents and tests
The stereoscopic era of motion pictures began in the late 1890s when British film
pioneer William Frieze-Greene filed a patent for a 3D movie process. In his patent, two films
were projected side by side on screen. The viewer looked through a stereoscope to converge
the two images. Because of the obtrusive mechanics behind this method, theatrical use was
not practical. Frederic Eugene Ives patented his stereo camera rig in 1900. The camera had
two lenses coupled together 1 3/4 inches (4.45 centimeters) apart. On June 10, 1915, Edwin
S. Porter and William E. Waddell presented tests to an audience at the Astor Theater in New
York City. In red-green anaglyph, the audience was presented three reels of tests, which
included rural scenes, test shots of Marie Doro, a segment of John Mason playing a number
of passages from Jim the Penman (a film released by Famous Players-Lasky that year, but not
in 3D), Oriental dancers, and a reel of footage of Niagara Falls. However, according
to Adolph Zukor in his 1953 autobiography The Public Is Never Wrong: My 50 Years in the
Motion Picture Industry, nothing was produced in this process after these tests.
1.2 Early systems of stereoscopic filmmaking (pre-1952)
The earliest confirmed 3D film shown to a paying audience was The Power of Love, which
premiered at the Ambassador Hotel Theater in Los Angeles on 27 September 1922. The
camera rig was a product of the film's producer, Harry K. Fairall,
and cinematographer Robert F. Elder. It was projected dual-strip in the red/green anaglyph
format, making it both the earliest known film that utilized dual strip projection and the
earliest known film in which anaglyph glasses were used. Whether Fairall used colored filters
on the projection ports or whether he used tinted prints is unknown. After a preview for
exhibitors and press in New York City, the film dropped out of sight, apparently not booked
by exhibitors, and is now considered lost.
Early in December 1922, William Van Doren Kelley, inventor of the Prizma color system,
cashed in on the growing interest in 3D films started by Fairall's demonstration and shot
footage with a camera system of his own design. Kelley then struck a deal with Samuel
"Roxy" Rothafel to premiere the first in his series of "Plasticon" shorts entitled Movies of the
Future at the Rivoli Theater in New York City. Also in December 1922, Laurens
Hammond (later inventor of the Hammond organ) and William F. Cassidy unveiled
their Teleview system.
Teleview was the earliest alternate-frame sequencing form of film projection. Through the
use of two interlocked projectors, alternating left/right frames were projected one after
another in rapid succession. Synchronized viewers attached to the arm-rests of the seats in the
theater open and closed at the same time, and took advantage of the viewer's persistence of
vision, thereby creating a true stereoscopic image. The only theater known to have installed
this system was the Selwyn Theater in New York. Only one show was ever produced for the
system, groups of shorts and the only Teleview feature The Man from M.A.R.S. (later re-
released as Radio-Mania) on December 27, 1922 in New York City. In 1922, Frederic
Eugene Ives and Jacob Leventhal began releasing their first stereoscopic shorts made over a
three-year period. The first film entitled, Plastigrams, which was distributed nationally
byEducational Pictures in the red/blue anaglyph format.
Ives and Leventhal then went on to produce the following stereoscopic shorts in the
"Stereoscopiks Series" for Pathé Films in 1925: Zowie (April 10), Luna-cy! (May 18), the
Run-Away Taxi (December 17) and Ouch (December 17). On 22 September 1924, Luna-
cy! Was re-released in the DeForest Phonofilm sound-on-film system. The late 1920s to
early 1930s saw little to no interest in stereoscopic pictures, largely due to the Great
Depression. In Paris, Louis Lumiere shot footage with his stereoscopic camera in September
1933. The following March he premiered a remake of his 1895 film L'Arrivée du Train, this
time in anaglyphic 3D, at a meeting of the French Academy of Science. In 1936, Leventhal
and John Norling were hired based on their test footage to film MGM's Audioscopiks series.
The prints were by Technicolor in the red/green anaglyph format, and were narrated by Pete
Smith. The first film, Audioscopiks, premiered January 11, 1936 and The New
Audioscopiks premiered January 15, 1938. Audioscopiks was nominated for the Academy
Award in the category Best Short Subject, Novelty in 1936.
With the success of the two Audioscopiks films, MGM produced one more short in anaglyph
3D, another Pete Smith Specialty called Third Dimensional Murder (1941). Unlike its
predecessors, this short was shot with a studio-built camera rig. Prints were by Technicolor in
red/blue anaglyph. The short is notable for being one of the few live-action appearances of
the Frankenstein Monster as conceived by Jack Pierce for Universal Studios outside of their
company.
While many of these films were printed by color systems, none of them was actually in color,
and the use of the color printing was only to achieve an anaglyph effect.
1.3 Introduction of Polaroid
While attending Harvard University, Edwin H. Land conceived the idea of
reducing glare by polarizing light. He took a leave of absence from Harvard to set up a lab
and by 1929 had invented and patented a polarizing sheet. In 1932, he introduced Polaroid J
Sheet as a commercial product. While his original intention was to create a filter for reducing
glare from car headlights, Land did not underestimate the utility of his newly-
dubbed Polaroid filters in stereoscopic presentations.
In January 1936, Land gave the first demonstration of Polaroid filters in conjunction with 3D
photography at the Waldorf-Astoria Hotel. The reaction was enthusiastic, and he followed it
up with an installation at the New York Museum of Science. It is unknown what film was run
for audiences at this exhibition.
Using Polaroid filters meant an entirely new form of projection, however. Two prints, each
carrying either the right or left eye view, had to be synced up in projection using an
external selsyn motor. Furthermore, polarized light would be largely depolarized by a matte
white screen, and only a silver screen or screen made of other reflective material would
correctly reflect the separate images.
Later that year, the feature, Nozze Vagabonde appeared in Italy, followed in Germany
by Zum Greifen Nah (You Can Nearly Touch It), and again in 1939 with Germany's Sechs
Mädel Rollen Ins Wochenend(Six Girls Drive Into the Weekend). The Italian film was made
with the Gualtierotti camera; the two German productions with the Zeiss camera and the
Vierling shooting system. All of these films were the first exhibited using Polaroid filters.
The Zeiss Company in Germany manufactured glasses on a commercial basis commencing in
1936; they were also independently made around the same time in Germany by E. Käsemann
and by J. Mahler.
In 1939, John Norling shot In Tune with Tomorrow, the first commercial 3D film using
Polaroid in the US. This short premiered at the 1939 New York World's Fair and was created
specifically for the Chrysler Motors Pavilion. In it, a full 1939 Chrysler Plymouth is
magically put together, set to music. Originally in black and white, the film was so popular
that it was re-shot in color for the following year at the fair, under the title New Dimensions
In 1953, it was reissued by RKO as Motor Rhythm.
Another early short that utilized the Polaroid 3D process was 1940's Magic Movies: Thrills
For You produced by the Pennsylvania Railroad Co. for the Golden Gate International
Exposition. Produced by John Norling, it was filmed by Jacob Leventhal using his own rig. It
consisted of shots of various views that could be seen from the Pennsylvania Railroad's
trains.
In the 1940s, World War II prioritized military applications of stereoscopic photography and
it once again went on the back burner in most producers' minds.
1.4 Mainstream resurgence
In 2003, Ghosts of the Abyss by James Cameron was released as the first full-length 3D
IMAX feature filmed with the Reality Camera System. This camera system used the latest
HD video cameras, not film, and was built for Cameron by Vince Pace, to his specifications.
The same camera system was used to film Spy Kids 3-D: Game Over (2003), Aliens of the
Deep IMAX (2005), and The Adventures of Sharkboy and Lavagirl in 3-D (2005).
In 2004, Las Vegas Hilton released Star Trek: The Experience which included two films. One
of the films, Borg Invasion 4-D (Ty Granoroli), was in 3D. In August of the same year, rap
group Insane Clown Posse released their ninth studio album Hell's Pit. One of two versions of
the album contained a DVD featuring a 3D short film for the track "Bowling Balls", shot in
high-definition video. In November 2004, The Polar Express was released as IMAX's first
full-length, animated 3D feature. It was released in 3,584 theaters in 2D, and only 66 IMAX
locations. The return from those few 3D theaters was about 25% of the total. The 3D version
earned about 14 times as much per screen as the 2D version. This pattern continued and
prompted a greatly intensified interest in 3D and 3D presentation of animated films.
In June 2005, the Mann's Chinese 6 theatre in Hollywood became the first commercial movie
theatre to be equipped with the Digital 3D format. Both Singin' in the Rain and The Polar
Express were tested in the Digital 3D format over the course of several months. In November
2005, Walt Disney Studio Entertainment released Chicken Little in digital 3D format.
The Butler's in Love, a short film directed by Anders Laursen and starring Elizabeth
Berkley and Thomas Jane .
was released on June 23, 2008. The film was shot at the
former Industrial Light & Magicstudios using KernerFX's prototype Kernercam stereoscopic
camera rig.
Ben Walters suggests that both filmmakers and film exhibitors regain interest in 3D film.
There is now more 3D exhibition equipment, and more dramatic films being shot in 3D
format. One incentive is that the technology is more mature. Shooting in 3D format is less
limited, and the result is more stable. Another incentive is the fact that while 2D ticket sales
are in an overall state of decline, revenues from 3D tickets continue to grow.
Through the entire history of 3D presentations, techniques to convert existing 2D images for
3D presentation have existed. Few have been effective or survived. The combination of
digital and digitized source material with relatively cost-effective digital post-processing has
spawned a new wave of conversion products. In June 2006, IMAX and Warner
Bros. released Superman Returns including 20 minutes of 3D images converted from the 2D
original digital footage. George Lucas has announced that he will re-release his Star
Wars films in 3D based on a conversion process from the company In-Three. Later on in
2011, it was announced that Lucas was working with the company Prime Focus on this
conversion.
In late 2005, Steven Spielberg told the press he was involved in patenting a 3D cinema
system that does not need glasses, and which is based on plasma screens. A computer splits
each film-frame, and then projects the two split images onto the screen at differing angles, to
be picked up by tiny angled ridges on the screen.
Animated films Open Season, and The Ant Bully, were released in analog 3D in
2006. Monster House and The Nightmare before Christmas were released on XpanD
3D, RealD and Dolby 3D systems in 2006.
On May 19, 2007 Scar3D opened at the Cannes Film Market. It was the first US-produced
3D full-length feature film to be completed in Real D 3D. It has been the #1 film at the box
office in several countries around the world, including Russia where it opened in 3D on 295
screens.
In 2008 3D films included Hannah Montana & Miley Cyrus: Best of Both Worlds
Concert, Journey to the Center of the Earth, and Bolt.
On January 16, 2009, Lionsgate released My Bloody Valentine 3D, the first horror film and
first R-rated film to be projected in Real D 3D.[28]
It was released to 1,033 3D screens, the
most ever for this format, and 1,501 regular screens. Another R-Rated film, The Final
Destination, was released later that year (August 28) to even more screens. It was the first of
its series to be released in HD 3D.
On May 7, 2009 the British Film Institute commissioned a 3D film installation. The
film Radio Mania: An Abandoned Work consists of two screens of stereoscopic 3D film with
3D Ambisonic sound. It stars Kevin Eldon and is by British artists Iain Forsyth and Jane
Pollard.
The first 3D webisode series was Horrorween starting September 1, 2009.
Major 3D films in 2009 included Coraline, Monsters vs. Aliens, Up, X Games 3D: The
Movie, The Final Destination, and Avatar.
Avatar has gone on to be one of the most expensive films of all time, with a budget at $237
million; it is also the highest-grossing film of all time. The main technologies used to exhibit
these films, and many others released around the time and up to the present, are Real D
3D, Dolby 3D, XpanD 3D, MasterImage 3D, and IMAX 3D.
March and April 2010 saw three major 3D releases clustered together, with Alice in
Wonderland hitting US theaters on March 5, 2010, How to Train Your Dragon on March 26,
2010 and Clash of the Titans on April 2, 2010.
On May 13, 2010, China's first IMAX 3D film started shooting. The pre-production of the
first 3D film shot in France, Derrière les murs, began in May 2010, and it will be released in
mid-2011.
On October 1, 2010 Scar3D was the first-ever stereoscopic 3D Video-on-demand film
released through major cable broadcasters for 3D televisions in the United States.
Released in the United States on May 21, 2010, Shrek Forever After by DreamWorks
Animation (Paramount Pictures) used the Real D 3D system, also released in IMAX 3D.
Chapter 2 – Techniques
Stereoscopic motion pictures can be produced through a variety of different methods. Over
the years the popularity of systems being widely employed in movie theaters has waxed and
waned. Thoughanaglyph was sometimes used prior to 1948, during the early "Golden Era" of
3D cinematography of the 1950s the polarization system was used for every single feature
length movie in the United states, and all but one short film. In the 21st
century, polarization 3D systems have continued to dominate the scene, though during the
1960s and 1970s some classic films which were converted to anaglyph for theaters not
equipped for polarization, and were even shown in 3D on television. In the years following
the mid-1980s, some movies were made with short segments in anaglyph 3D. The following
are some of the technical details and methodologies employed in some of the more notable
3D movie systems that have been developed.
2.1 Live action
The standard for shooting live-action films in 3D involves using two cameras mounted so that
their lenses are about as far apart from each other as the average pair of human eyes,
recording two separate images for both the left eye and the right eye. In principle, two normal
2D cameras could be put side-to-side but this is problematic in many ways. The only real
option is to invest in new stereoscopic cameras. Moreover, some cinematographic tricks that
are simple with a 2D camera become impossible when filming in 3D. This means those
otherwise cheap tricks need to be replaced by expensive CGI. In 2008, Journey to the Center
of the Earth became the first live-action feature film to be shot with the earliest Fusion
Camera System released in Digital 3D and was later followed by several others. Avatar
(2009) was shot in a 3D process that is based on how the human eye looks at an image. It was
an improvement to the existing 3D camera system. Many 3D camera rigs still in use simply
pair two cameras side by side, while newer rigs are paired with a beam splitter or both camera
lenses built into one unit. While Digital Cinema cameras are not a requirement for 3D they
are the predominant medium for most of what is photographed. Film options include IMAX
3D and Cine 160.
2.2 Animation
In 2004 The Polar Express was the first stereoscopic 3D computer-animated feature film. In
November 2005, Walt Disney Studio Entertainment released Chicken Little in digital 3D
format, being Disney's first CGI-animated film in 3D. The first 3D feature by DreamWorks
Animation, Monsters vs. Aliens, followed in 2009 and used a new digital rendering process
called InTru3D, which was developed by Intel to create more realistic animated 3D images.
InTru3D is not used to exhibit 3D films in theaters; they are shown in either Real 3D or
IMAX 3D.
2.3 2D to 3D conversion
In the case of 2D CGI animated films that were generated from 3D models, it is possible to
return to the models to generate a 3D version.
For all other 2D films, different techniques must be employed. For example, for the 3D re-
release of the 1993 film The Nightmare before Christmas, Walt Disney Pictures scanned each
original frame and manipulated them to produce left-eye and right-eye versions. Dozens of
films have now been converted from 2D to 3D. There are several approaches used for 2D to
3D conversion, most notably depth-based methods.
Chapter 3 – Displaying 3D films
3.1 Anaglyph
Anaglyph images were the earliest method of presenting theatrical 3D, and the one most
commonly associated with stereoscopy by the public at large, mostly because of non-
theatrical 3D media such as comic books and 3D television broadcasts, where polarization is
not practical. They were made popular because of the ease of their production and exhibition.
The first anaglyph movie was invented in 1915 by Edwin S Porter. Though the earliest
theatrical presentations were done with this system, most 3D movies from the 1950s and
1980s were originally shown polarized.
In an anaglyph, the two images are superimposed in an additive light setting through two
filters, one red and one cyan. In a subtractive light setting, the two images are printed in the
same complementary colors on white paper. Glasses with colored filters in each eye separate
the appropriate images by canceling the filter color out and rendering the complementary
color black.
Anaglyph images are much easier to view than either parallel sighting or crossed
eye stereograms, although the latter types offer bright and accurate color rendering,
particularly in the red component, which is muted, or desaturated with even the best color
anaglyphs. A compensating technique, commonly known as Anachrome, uses a slightly more
transparent cyan filter in the patented glasses associated with the technique. Process
reconfigures the typical anaglyph image to have lessparallax.
An alternative to the usual red and cyan filter system of anaglyph is Color-code 3D, a
patented anaglyph system which was invented in order to present an anaglyph image in
conjunction with the NTSC television standard, in which the red channel is often
compromised. Color-code uses the complementary colors of yellow and dark blue on-screen,
and the colors of the glasses' lenses are amber and dark blue.
The polarization 3D system has been the standard for theatrical presentations since it was
used for Bwana Devil in 1952, though early IMAX presentations were done using the eclipse
system and in the 1960s and 1970s classic 3D movies were sometimes converted to anaglyph
for special presentations. The polarization system has better color fidelity and less ghosting
than the anaglyph system. In the post-'50s era, anaglyph has been used instead of polarization
in feature presentations where only part of the movie is in 3D such as in the 3D segment
of Freddy's Dead: The Final Nightmare and the 3D segments of Spy Kids 3D.
Anaglyph is also used in printed materials and in 3D television broadcasts where polarization
is not practical. 3D polarized televisions and other displays only became available from
several manufacturers in 2008 these generate polarization on the receiving end.
3.2 Polarization systems
To present a stereoscopic motion picture, two images are projected superimposed onto the
same screen through different polarizing filters. The viewer wears low-cost eyeglasses which
also contain a pair of polarizing filters oriented differently (clockwise/counterclockwise with
circular polarization or at 90 degree angles, usually 45 and 135 degrees, with linear
polarization). As each filter passes only that light which is similarly polarized and blocks the
light polarized differently, each eye sees a different image. This is used to produce a three-
dimensional effect by projecting the same scene into both eyes, but depicted from slightly
different perspectives. Since no head tracking is involved, the entire audience can view the
stereoscopic images at the same time. Additionally, since both lenses have the same color,
people with one dominant eye (amblyopic), where one eye is used more, are able to see the
3D effect, previously negated by the separation of the two colors.
Circular polarization has an advantage over linear polarization, in that the viewer does not
need to have their head upright and aligned with the screen for the polarization to work
properly. With linear polarization, turning the glasses sideways causes the filters to go out of
alignment with the screen filters causing the image to fade and for each eye to see the
opposite frame more easily. For circular polarization, the polarizing effect works regardless
of how the viewer's head is aligned with the screen such as tilted sideways, or even upside
down. The left eye will still only see the image intended for it, and vice versa, without fading
or crosstalk.
Polarized stereoscopic pictures have been around since 1936, when Edwin H. Land first
applied it to motion pictures. The so-called "3-D movie craze" in the years 1952 through
1955 was almost entirely offered in theaters using linear polarizing projection and glasses.
Only a minute amount of the total 3D films shown in the period used the anaglyph color
filter method. Linear polarization was likewise used with consumer level stereo projectors.
Polarization was also used during the 3D revival of the 1980s.
In the 2000s, computer animation, competition from DVDs and other media, digital
projection, and the use of sophisticated IMAX 70mm film projectors, have created an
opportunity for a new wave of polarized 3D films.
All types of polarization will result in a darkening of the displayed image and poorer contrast
compared to non-3D images. Light from lamps is normally emitted as a random collection of
polarizations, while a polarization filter only passes a fraction of the light. As a result the
screen image is darker. This darkening can be compensated by increasing the brightness of
the projector light source. If the initial polarization filter is inserted between the lamp and the
image generation element, the light intensity striking the image element is not any higher
than normal without the polarizing filter, and overall image contrast transmitted to the screen
is not affected.
3.3 Eclipse method
With the eclipse method, a shutter blocks light from each appropriate eye when the converse
eye's image is projected on the screen. The projector alternates between left and right images,
and opens and closes the shutters in the glasses or viewer in synchronization with the images
on the screen. This was the basis of the Teleview system which was used briefly in 1922.
A variation on the eclipse method is used in LCD shutter glasses. Glasses containing liquid
crystal that will let light through in synchronization with the images on the cinema, television
or computer screen, using the concept of alternate-frame sequencing. This is the method used
by nVidia, XpanD 3D, and earlier IMAX systems. A drawback of this method is the need for
each person viewing to wear expensive, electronic glasses that must be synchronized with the
display system using a wireless signal or attached wire. The shutter-glasses are heavier than
most polarized glasses, though lighter models are no heavier than some sunglasses or deluxe
polarized glasses. However these systems do not require a silver screen for projected images.
Liquid crystal light valves work by rotating light between two polarizing filters. Due to these
internal polarizer’s, LCD shutter-glasses darken the display image of any LCD, plasma, or
projector image source, which has the result that images appear dimmer and contrast is lower
than for normal non-3D viewing. This is not necessarily a usage problem; for some types of
displays which are already very bright with poor grayish black levels, LCD shutter glasses
may actually improve the image quality.
3.4 Interference filter technology
Dolby 3D uses specific wavelengths of red, green, and blue for the right eye, and different
wavelengths of red, green, and blue for the left eye. Eyeglasses which filter out the very
specific wavelengths allow the wearer to see a 3D image. This technology eliminates the
expensive silver screens required for polarized systems such as Real, which is the most
common 3D display system in theaters. It does, however, require much more expensive
glasses than the polarized systems. It is also known as spectral comb filtering or wavelength
multiplex visualization
The recently introduced Omega 3D/Panavision 3D system also uses this technology, though
with a wider spectrum and more "teeth" to the "comb" (5 for each eye in the
Omega/Panavision system). The use of more spectral bands per eye eliminates the need to
color process the image, required by the Dolby system. Evenly dividing the visible spectrum
between the eyes gives the viewer a more relaxed "feel" as the light energy and color balance
is nearly 50-50. Like the Dolby system, the Omega system can be used with white or silver
screens. But it can be used with either film or digital projectors, unlike the Dolby filters that
are only used on a digital system with a color correcting processor provided by Dolby. The
Omega/Panavision system also claims that their glasses are cheaper to manufacture than
those used by Dolby.
In June 2012 the Omega 3D/Panavision 3D system was discontinued by DVPO Theatrical,
who marketed it on behalf of Panavision, citing "challenging global economic and 3D market
conditions".
3.5 Auto stereoscopy
In this method, glasses are not necessary to see the stereoscopic image. Lenticular
lens and parallax barrier technologies involve imposing two (or more) images on the same
sheet, in narrow, alternating strips, and using a screen that either blocks one of the two
images' strips (in the case of parallax barriers) or uses equally narrow lenses to bend the strips
of image and make it appear to fill the entire image (in the case of lenticular prints). To
produce the stereoscopic effect, the person must be positioned so that one eye sees one of the
two images and the other sees the other.
Both images are projected onto a high-gain, corrugated screen which reflects light at acute
angles. In order to see the stereoscopic image, the viewer must sit within a very narrow angle
that is nearly perpendicular to the screen, limiting the size of the audience. Lenticular was
used for theatrical presentation of numerous shorts in Russia from 1940–1948 and in 1946 for
the feature length film Robinzon Kruzo
Though its use in theatrical presentations has been rather limited, lenticular has been widely
used for a variety of novelty items and has even been used in amateur 3D photography.
Recent use includes the Fujifilm FinePix Real 3D with an autostereoscopic display that was
released in 2009. Other examples for this technology include autostereoscopic LCD
displays on monitors, notebooks, TVs, mobile phones and gaming devices, such as
the Nintendo 3DS.
Chapter 4 – Image Quality
Perceived 3D image quality is one of the criteria to assess the overall performance of new
media such as 3D-TV. However, subjective testing is time-consuming and needs to be
repeated for each new parameter setting. Therefore, quality models are needed to obtain a
better understanding of the relationship between technical system parameters and perceived
3D image quality. For conventional imaging systems, image quality models have been
proposed to predict 2D image quality. Nevertheless, a better understanding is needed of the
relationship between system parameters and perceptual factors contributing to the overall
perceived 3D image quality. The principles of modeling 2D image quality can be used to gain
insight into the relationship between 3D- system parameters and 3D image quality.
4.1 Image Quality Modeling
Several approaches have been proposed to obtain a quantitative measure of image quality for
conventional 2D images or sequences. In this paragraph, some quality models are discussed
that are based on
1) A mathematical function to express the loss of information in a physical signal,
2) The transformations in the peripheral human visual pathways,
3) identifying and quantifying the impairment strengths, and
4) Knowledge of Human visual information processing.
Objective fidelity criterion models use a mathematical function of the original image and a
processed version of it, to express the loss of information in an image. Often used functions
are the root mean square error (RMSE) or the mean-square signal-to-noise ratio (SNR)
(Gonzalez and Woods, 1992) the simple calculations needed to express the loss of image
information have led to a large number of related measures (Eskicioglu and Fisher, 1995).
Objective fidelity criteria are probably satisfactory within certain constraints but are not
always suited as image quality measures. For instance the image quality of a particular scene
processed at several levels with the same processing method can probably be quantified by
these objective fidelity criteria. However, applied across scenes or different types of
distortion their reliability is most questionable. Daly (1993) showed that differently impaired
images with similar RMSE can be of different subjective quality. The lack of taking the
visual system into account is probably one of the serious limitations of the above mentioned
measures. Instrumental image quality measures that include properties of the human visual
system (HVS) are more likely to approximate subjective image quality. HVS based quality
measures model the path an image passes through the human visual system, including the
optics of the eye, the retina, and the primary visual cortex. Several variations of
implementing these stages of the visual system are possible (Ahumada, 1993; Watson, 1987;
Daly, 1993; van den Branden Lambrecht, 1996; Winkler, 1999). A typical HVS measure is
described in detail by Lubin (1993).
A different technique to model image quality is based on identifying the underlying attributes
of image quality and quantifying the perceived strengths of each attribute. For this approach,
descriptions of the subjective attributes, such as noise, blur or blockiness, as well as their
technical characterization is needed (Karunasekera and Kingsbury, 1995; Kayargadde and
Martens, 1996b; Libert and Fenimore, 1999). To relate the attribute strengths to overall image
quality, different combination rules can be used (de Ridder, 1992). The attribute strengths can
be quantified from the reference image, usually the original, and a processed version of it
(Karunasekera and Kingsbury, 1995). At present, much effort is spent on developing single-
ended measures, which quantify the degree of impairment directly from the processed image
and do not require an original image. For example, estimation algorithms based on the
Hermite transform were used to estimate the perceptual strength of blur and noise or
blockiness directly from the processed image (Kayargadde and Martens, 1996a; Meesters,
2002). Another approach is to consider image quality in terms of the adequacy of the image
to enable humans to interact with their environment. In this sense image quality is related to
terms like usefulness and naturalness, expressing the precision of the internal image
representation and its match to the description stored in memory, respectively. To quantify
the image quality attributes usefulness and naturalness; measures of discriminability and
identifiability were used (Janssen and Blommaert, 2000).
4.2 3D Image Quality
No comprehensive 3D visual experience model has been formulated to date, yet it is likely
that a diverse set of image attributes contributes to the overall perceived quality of 3D-TV
images. Some attributes will have a positive contribution to the overall image quality (e.g.,
increased depth sensation, or increased sharpness), while others may have a limiting or
negative effect (e.g., visual discomfort due to exaggerated disparities, or image distortions).
An appropriate 3D visual experience model will account for both positive and negative
factors, allowing for a weighting of the attributes based on perceptual importance, and for
interactions that may occur as a consequence of (potentially asymmetric) binocular
combinations. For example, a 3D distortion like crosstalk becomes more visible with
increasing left-right image separation, a manipulation that also increases perceived depth. In
such a case the perceptual benefit of increased depth can be nullified by the perceptual cost of
increased crosstalk. The interactions between such positive and negative contributions and
their relative weighting deserve further study, in order to arrive at a more complete
understanding of 3D visual experience. The 3D visual experience is a trade off between
positive and negative factors and should therefore contain the attributes image quality, depth
and visual comfort. The added value of depth needs to be incorporated in a 3D visual
experience model, especially when 2D picture quality is used as reference (Schreer et al.,
2005). IJsselsteijn et al. (2000c) already demonstrated the added value of depth for
uncompressed stereoscopic images.
Chapter 5 – Top 3D Movies in India
Hollywood has released a series of amazing 3D movies over the recent past, which has
mesmerized the movie goers all around the world giving them an entirely new and
captivating experience.
5.1 3D Hollywood Movies
1) Avatar (2009)
James Cameron revolutionized 3D cinema with this tree-hugging tale of the planet Pandora,
and horrid old Earth's attempts to bleed her dry. While the story itself might drag slightly
over the film's mammoth running time, Cameron's world is a breathtakingly immersive
triumph of technology. Technology he had a significant hand in developing, lest we forget.
2) Final Destination 5
The motion picture's world premiere was August 4, 2011 at the Fantasia Festival in Montreal,
Canada. It was released in Real D 3D and digital IMAX 3D. In an interview with Shave
Magazine, Nicholas D'Agosto revealed "the cameras we used were the newest hybrid 3D
form. There are still two cameras kind of melded together with a kind of complex, mirrored
frame that allows you to shoot in 3D". Richard Roeper stated in his review "From the opening
credits to the final kill this film displays a great use of 3-D". In a review for Toronto.com,
Linda Barnard has stated "this could be a case where the 3-D-shot movie is worth the extra
few bucks to see". He described Final Destination 5 as "a clean, glossy thriller shot in native
3D (not post-conversion) that maximizes the technology without straining the audience's
credulity or their constitutions." He also stated "Calling anything the 'best 3D horror film' has
the ring of crowning the world's tallest midget, but Quale uses 3D almost shockingly well."
3) Transformers: Dark of the Moon
.
―The film had many positive reviews, from critics and the audience’s alike, for its special
effects and aggressive use of 3-D, leading some to call it the best 3-D experience since
Cameron's Avatar. Neil Schneider of Meant to be seen, a website focused on stereoscopic 3-
D gaming and entertainment, remarked that "while Transformers: Dark of the Moon had the
scrapings of a really good story, this 3-D movie was shot with a 2-D script." On the topic of
3-D, Schneider said "Transformers 3 was a mix of native stereoscopic 3-D camera capturing
and 2-D/3-D conversion (as a 3-D tool), and most was done very well." He added, "At a
minimum, Transformers 3 demonstrates that fast cutting sequences are indeed possible and
practical in stereoscopic 3-D. More than that, it was a comfortable experience and helped
exemplify great use of stereoscopic 3-D with live action and digital characters. That said, I
think they still could have taken it much further."
4) Fast and Furious 7
Fast 7 oftenly stylized as Fast & Furious 7 is a 2015 American action film directed by James
Wan and written by Chris Morgan. It is the seventh instalment in the Fast and The Furious
Franchise. The film stars Vin Diesel, Paul Walker, Dwayne Johnson, Michelle Rodriguez,
Tyrese Gipson, Chris Bridges, Jordana Brewster, Kurt Russel and Jason Statham.
5) Titanic
A 2012 re-release, also known as Titanic 3D, was created by re-mastering the original to 4K
resolution and post-converting to stereoscopic 3D format. The Titanic 3D version took 60
weeks and $18 million to produce, including the 4K restoration. Rolling Stone film critic
Peter Travers rated the reissue 3.5 stars out of 4 explaining he found it "pretty damn
dazzling". He said, "The 3D intensifies Titanic. You are there. Caught up like never before in
an intimate epic that earns its place in the movie time capsule".
6) Avengers: Age of Ultron
Avengers: age of ultron is a 2015 American superhero film based on the marvel comics
superhero team- The Avengers, produced by Marvel Studios and distributed by Walt Disney
Studios motion Pictures. It is the sequel of 2012 The Avengers and the 11th
installment in the
marvels cinematic universe (MCU). The film was written and directed by Josh Whedon.
5.2 3D Bollywood Movies
Hollywood-made 3D films do roaring business, and now Hindi films too have taken the
plunge. Though there are not too many success stories yet, Bollywood has lined up a slew of
releases in the format.
Remember the film Chhota Chetan and with it India first experienced the thrill of 3D cinema.
Subsequently the fad has come and gone — sometimes creating a buzz and sometimes not.
But the recent trend of 3D films still in its nascent stage is giving filmmakers reason to strike
gold at the box-office. Two years ago James Cameron's Avatar created storm at the ticket
window in India and more recently Vikram Bhatt's 3D horror film Haunted also became a
huge hit. Peter Jackson and Steven Spielberg's upcoming film,
Even Bollywood filmmakers are also gearing up to join the 3D race. Vikram Bhatt will make
Raaz-3 and Dangerous Ishq, Shirish Kunder's Joker, Ram Gopal Varma's untitled next with
Kangana Ranaut, Shekhar Kapoor's Paani in 3D. SRK's RA.One, though not shot in 3D is
also in talks to be converted to the 3D format when it releases. Says Nandu Ahuja, senior vice
president of the company distributing the film, "The BO collections for all the 3D movies
released in the recent past are so phenomenal that we can't ignore the possibility of releasing
RA.One in 3D. Agreed India is not equipped with enough 3D screens, but till Diwali I am
sure more such screens will be added to the list. There are many digital players in the market
and releasing the film in 3D means more collections."
Filmmaker Vikram Bhatt feels that 3D is quite a challenge and had mentioned in an earlier
interview, ―Haunted 3D does not play on the gore aspects of a horror film. I wanted to go
beyond the dead body jumping out of a morgue on a foggy night cliché. So making it a
thrilling film — which kept the viewers on the edge — on 3D was my main challenge."
Says trade analyst Komal Nahta, "Even if you have 30-40 odd 3D cinema screens in India, it
should mean good business for the filmmakers. But the filmmaker should be sure of an
additional experience for the viewer with 3D format. A lot of work needs to be done to help
the audience retain their excitement for the format. Films should only be 3D if the content is
3D-worthy; otherwise the effort will look forced. But nobody can wish it away."
It costs roughly ` 10 lakh to convert an existing 2D screen to a 3D, while building a separate
3D screen altogether can cost as much as ` 35 lakh, depending on the technology. City
multiplex owners feel that investing in 3D equipped screens is a must. Says multiplex owner
Ashok Purohit, "The SFX and technology required for the movie watching experience is not
easy to get in India. Having said that, 3D films should be of shorter duration and my next
plan of action is to install 3D screens as most Hollywood movies are released in 3D format
these days." Agrees Ashish Saxena, CEO of a popular chain of multiplexes across India,
"Earlier films were converted from 2D to 3D but now with demand growing Hindi films are
being shot in 3D. Also the technical quality of films has improved and with better content, I
don't see any reason why India can't get more such screens."
Filmmakers are excited about the idea too. As filmmaker Karan Johar says, "I am so excited
that the 3D technology is now available to filmmakers like me. It will literally add a new
dimension to our story telling and creative expression."
1) Ra. One
Shah Rukh Khan's ambitious project will also be in 3D format. The film also stars Kareena
Kapoor and Arjun Rampal apart from SRK himself. The film has been going through some
extensive post-production work which also includes the release of Ra. One - The Game.
2) Don 2
'Don 2: The Chase Continues' is the sequel to the highly successful film 'Don: The
Chase Begins'. The sequel, also starring Shah Rukh Khan and Priynka Chopra was
scheduled to have a normal release but director Farhan Akhtar apparently had a
change of mind and decided to convert the film to 3D format.
3) Raaz 3
Vikram Bhatt returns with yet another 3D film which is none other than 'Raaz'
franchise. 'Raaz 3' marks the return of Bipasha Basu and Vikram Bhatt to the
franchise after they both worked in 'Raaz'. 'Raaz 2' was directed by Mohit Suri and
starred Kangana Ranaut, Emraan Hashmi and Adhyayan Suman in lead roles. The
third installment stars Bipasha Basu, Emraan Hashmi
4) Haunted
Haunted – 3D is a 2011 Indian horror film directed by Vikram Bhatt and starring Mahakshay
Chakraborty, Twinkle Bajpai, Achint Kaur, Sagar Saikia and Arif Zakaria. The film is India’s
first stereoscopic 3D horror film. The promos and first look of the film were released on 7
February 2011. The film was released on 6 May 2011 to mixed reviews but became a surprise
hit at the box office.
5) ABCD-2
ABCD-2 is a 2015 Indian 3D dance film, directed by Remo De’ssouza and produced by
Siddharth Roy Kapoor and Walt Disney Picture. The film stars Varun Dhavan, Shraddha
Kapoor and Prabhu Deva. It is a sequel of 2013 film-ABCD: Anybody can Dance. ABCD-2
released on 19th
june, 2015.
Chapter 6 – Research Methodology
6.1 Need for the Study
3D or 3-D is to the entertainment what digital is to photography, video and film. The truth is
that 3D is going to revolutionize everything visual. 3D movies have the ability to make us
believe more. It’s more real. 3D done good is even better than reality.
Our eyes have a fixed focal length. Cameras can have thousands of different focal lengths!
3D is new and is not perfect yet. It has a long way to go. The idea existed almost as long as
photography existed but the latest digital advances made it only recently possible to make
complete movies easily. 3D movies are fun.
From sci-fi to sports, documentaries to kids' flicks, 3D is the next big thing for the world of
home theater. HDTV may make your image look brilliant, but only 3D promises explosions
that make you flinch and landscapes that seem to be rolling out of your TV.
6.2 Research Objectives
1. To understand the 3D market in India.
2. To understand the background of 3D movies.
3. To understand the functionality and making of 3D movies.
4. To do a comparative study on 3D movies.
6.3 Sample Size
Sample size: The sample size will be of 150 respondents. It will include both Male and
Female respondents.
Sample frame: The population would be segmented on the basis on Occupation & Gender.
The target sample would be from the age group of 15 to 35 and would include both the
genders.
Education: Respondents should be literate with a minimum of 10th
pass qualification to be
applicable for the questionnaire
Occupation: Occupation is not a restriction for this project as it considers working, non
working, student, housewives etc.
Gender: According to the 2011 Census of India, the population of Mumbai is 12,479,608
Based on the sex ratio of Mumbai, there are 838 females per 1000 males
In a population of 1838 people there are 1000 males, therefore for a sample of 150 there
would be 81 males (1000*150)/1838
Therefore for the research to be undertaken, 81 males and 69 females would be interviewed
within the city of Mumbai
Sampling Method: The type of sampling undertaken shall be Simple Random Sampling
6.4 Tools for Data Collection
Questionnaires will be used to collect the data. It will comprise of Close ended questions.
Primary data- Structured questionnaire
Secondary data- Internet, previous research, magazines
6.5 Sampling Procedure
The respondents were requested to fill the questionnaire in an unbiased manner. Any doubts
they had were clarified so as to get the right response from them. After the data collection
process was completed, the data was analyzed using the statistical software - SPSS v.19.
Various statistical tools like Frequencies, Weighted Average and Anova analysis were used
in order to get important insights.
Chapter 7 – Data Analysis and Interpretation
For primary data collection a structured questionnaire was made which was filled by
respondents of various age groups and gender across the city of Mumbai. Once the data
collection was completed, analysis was carried out using SPSS software for analyzing the
data. Data analysis tools like frequencies, weighted average and anova analysis was used to
get the output of the data.
Frequency
The above bar graph specifies that there are 115 respondents from the age group of 18 to 30,
27 from age group of 31 to 40 and 8 from the age group of 41 to 45.
The above bar graph specifies that from the 150 respondents 109 were male and 41 were
female.
The above bar graph specifies that from 150 respondents 45 were students, 64 were
employees, 22 were self employee and 19 were others.
The above bar graph specifies that from 150 respondents 108 people had experienced a 3D
movie and 42 had not experienced.
The above bar graph specifies the income level of the respondent from which 66 has income
level Less than 2.5 lakhs per annum, 48 has income level 2.5 lakhs to 4.0 lakhs per annum, 21
are from 4.0 lakhs to 7.0 lakhs per annum, 10 has income level 7.0 lakhs to 10.0 lakhs per
annum and 5 has income level Above 10.0 lakhs per annum.
The above bar graph specifies the perception of price of 3D movie ticket from which 42
thinks it’s somewhat expensive, 35 thinks expensive 15 thinks very expensive, 11 thinks not
at all expensive and 5 thinks too expensive.
The above bar graph specifies how much the viewers willing to pay for a 3D movie ticket
from 150 respondent 39 willing to pay from Rs. 50 – Rs. 100, 30 willing to Rs. 100 – Rs.
150, 15 willing to from Rs. 150 – Rs. 200, 13 willing to Rs. 200 – Rs. 250, 5 willing to Rs.
250 – Rs. 300 and 5 willing to More than Rs. 300.
The above bar graph specifies the most liked genre viewers like to see in 3D, 44 respondent
like to see horror, 33 respondent like to see science fiction, 21 respondent like to see action, 6
respondent like to see comedy, 2 respondent like to see romantic
The above bar graph specifies that with whom they prefer to watch 3D movie. From 150
respondent 67 prefer to watch 3D movie with their friends, 19 prefer to watch with family, 12
prefer to watch with colleagues and 9 prefer to watch with relatives.
ANOVA
Ho: there are no significant differences in parameters which help to select place
of purchase
Ha: there are significant differences in parameters which help to select place of
purchase
Ratings for parameters
Sum of Squares df Mean Square F Sig.
Between Groups 146.496 5 29.299 23.887 .000
Within Groups 301.738 246 1.227
Total 448.234 251
Descriptives
Ratings for parameters
N Mean
Std.
Deviation
Std.
Error
95% Confidence Interval for
Mean
Minimu
m
Maximu
m
Lower
Bound
Upper
Bound
Availability problems 42 3.29 1.195 .184 2.91 3.66 1 5
Bad word of mouth 42 3.00 1.082 .167 2.66 3.34 1 5
Too expensive 42 3.95 1.035 .160 3.63 4.27 2 5
Eyewar problems 42 2.64 1.394 .215 2.21 3.08 1 5
Less deffrences
between 2D & 3D
42 1.81 .862 .133 1.54 2.08 1 4
Not aware 42 1.86 1.002 .155 1.54 2.17 1 4
Total 252 2.76 1.336 .084 2.59 2.92 1 5
Homogeneous Subsets
Tukey HSDa
Parameters N
Subset for alpha = 0.05
1 2 3
Less deffrences between 2D &
3D
42 1.81
Not aware 42 1.86
Eyewar problems 42 2.64
Bad word of mouth 42 3.00
Availability problems 42 3.29 3.29
Too expensive 42 3.95
Sig. 1.000 .087 .068
Means for groups in homogeneous subsets are displayed.
Since the p value i.e. 0.000 is less than 0.05, we reject Ho. This means there are significant
differences in parameters which help to decide place of purchase. It is also seen from the
above table that too expensive and availability problems are the top most factors according to
the respondents for not watching a 3D movie. Less difference between 2D & 3D is the least
preferred factor for not watching a 3D movie.
Crosstab
Crosstab
Count
Age Group of the Respondent
Total 18 to 30 31 to 40 41 to 45
Have you ever experienced
a 3D movie?
Yes 95 11 2 108
No 20 16 6 42
Total 115 27 8 150
Chi-Square Tests
Value df
Asymp. Sig. (2-
sided)
Pearson Chi-Square 28.273a 2 .000
Likelihood Ratio 26.121 2 .000
Linear-by-Linear Association 26.891 1 .000
N of Valid Cases 150
a. 1 cells (16.7%) have expected count less than 5. The minimum
expected count is 2.24.
The above table specifies that from 150 respondents 95 from the age group of 18 to 30 have
watched a 3D movie, 11 from the age group of 31 to 40 had watched and 2 from the age
group of 41 to 45 had watched a 3D movie.
From 150 respondents 20 from the age group of 18 to 30, 16 from the age group of 31 to 40
and 6 from the age group of 41 to 45 had not watched a 3D movie.
Crosstab
Count
Gender of the Respondent
Total Male Female
Have you ever experienced
a 3D movie?
Yes 79 29 108
No 30 12 42
Total 109 41 150
Chi-Square Tests
Value df
Asymp. Sig. (2-
sided)
Exact Sig. (2-
sided)
Exact Sig. (1-
sided)
Pearson Chi-Square .045a 1 .832
Continuity Correction .000 1 .993
Likelihood Ratio .045 1 .832
Fisher's Exact Test .840 .491
Linear-by-Linear Association .045 1 .833
N of Valid Cases 150
a. 0 cells (.0%) have expected count less than 5. The minimum expected count is 11.48.
b. Computed only for a 2x2 table
The above table specifies that from 150 respondents 108 had watched a 3D movie and from
which 79 were male and 29 were female
From 42 who had not watched movie 30 were male and 12 were female.
T test
One-Sample Statistics
N Mean Std. Deviation Std. Error Mean
Give your level of agreement for
the following statements with
respect to preference of viewing
of 3D movies. - I like the
experience of watching 3D
movies better than 2D movies
107 3.83 1.050 .102
Give your level of agreement for
the following statements with
respect to preference of viewing
of 3D movies. - Sound effect is
much more clear
107 3.79 .929 .090
Give your level of agreement for
the following statements with
respect to preference of viewing
of 3D movies. - I would
recommend others to watch 3D
movies
106 3.77 .854 .083
Give your level of agreement for
the following statements with
respect to benefits of 3D
movies. - It feels good to watch
107 3.90 .961 .093
Give your level of agreement for
the following statements with
respect to benefits of 3D
movies. - The picture quality is
much clearer and defined
107 3.95 .946 .091
Give your level of agreement for
the following statements with
respect to drawback of 3D
movies. - Is it difficult for the
eyes to adjust back to normal
after watching 3D movies
107 2.68 .977 .094
Give your level of agreement for
the following statements with
respect to preference of viewing
of 3D movies. - I enjoy watching
3D movies more than 2D
movies
107 3.76 1.054 .102
Give your level of agreement for
the following statements with
respect to benefits of 3D
movies. - It gives a richer
viewing experience
107 3.97 .976 .094
Give your level of agreement for
the following statements with
respect to benefits of 3D
movies. - It helps to understand
the subject much more properly
107 3.65 .953 .092
Give your level of agreement for
the following statements with
respect to benefits of 3D
movies. - 3D is more immersive
107 3.56 1.057 .102
Give your level of agreement for
the following statements with
respect to drawback of 3D
movies. - It is irritating to watch
a movie wearing a 3D glass
107 3.65 1.134 .110
Give your level of agreement for
the following statements with
respect to drawback of 3D
movies. - Viewing movie in 3D
causes headache
107 3.03 2.385 .231
Give your level of agreement for
the following statements with
respect to drawback of 3D
movies. - They cost of tickets
for 3D are more expensive than
2D movies
107 3.93 .988 .095
One-Sample Test
Test Value = 4
t df Sig. (2-tailed)
Mean
Difference
95% Confidence Interval of
the Difference
Lower Upper
Give your level of
agreement for the
following statements with
respect to preference of
viewing of 3D movies. - I
like the experience of
watching 3D movies
better than 2D movies
-1.657 106 .101 -.168 -.37 .03
Give your level of
agreement for the
following statements with
respect to preference of
viewing of 3D movies. -
Sound effect is much
more clear
-2.289 106 .024 -.206 -.38 -.03
Give your level of
agreement for the
following statements with
respect to preference of
viewing of 3D movies. - I
would recommend
others to watch 3D
movies
-2.730 105 .007 -.226 -.39 -.06
Give your level of
agreement for the
following statements with
respect to benefits of 3D
movies. - It feels good to
watch
-1.107 106 .271 -.103 -.29 .08
Give your level of
agreement for the
following statements with
respect to benefits of 3D
movies. - The picture
quality is much clearer
and defined
-.511 106 .610 -.047 -.23 .13
Give your level of
agreement for the
following statements with
respect to drawback of
3D movies. - Is it difficult
for the eyes to adjust
back to normal after
watching 3D movies
-13.951 106 .000 -1.318 -1.51 -1.13
Give your level of
agreement for the
following statements with
respect to preference of
viewing of 3D movies. - I
enjoy watching 3D
movies more than 2D
movies
-2.385 106 .019 -.243 -.44 -.04
Give your level of
agreement for the
following statements with
respect to benefits of 3D
movies. - It gives a richer
viewing experience
-.297 106 .767 -.028 -.22 .16
Give your level of
agreement for the
following statements with
respect to benefits of 3D
movies. - It helps to
understand the subject
much more properly
-3.755 106 .000 -.346 -.53 -.16
Give your level of
agreement for the
following statements with
respect to benefits of 3D
movies. - 3D is more
immersive
-4.300 106 .000 -.439 -.64 -.24
Give your level of
agreement for the
following statements with
respect to drawback of
3D movies. - It is
irritating to watch a
movie wearing a 3D
glass
-3.155 106 .002 -.346 -.56 -.13
Give your level of
agreement for the
following statements with
respect to drawback of
3D movies. - Viewing
movie in 3D causes
headache
-4.216 106 .000 -.972 -1.43 -.51
Give your level of
agreement for the
following statements with
respect to drawback of
3D movies. - They cost
of tickets for 3D are
more expensive than 2D
movies
-.783 106 .435 -.075 -.26 .11
Chapter 8 – Suggestions and Recommendations
8.1 Summary of the Analysis
From 150 respondents 108 people had experienced a 3D movie and 42 had not
experienced.
The perception of price of 3D movie ticket from which 42 thinks it’s somewhat
expensive,
35 thinks expensive 15 thinks very expensive, 11 thinks not at all expensive and 5
thinks too expensive.
From 150 respondent 39 willing to pay from Rs. 50 – Rs. 100, 30 willing to Rs. 100 –
Rs. 150, 15 willing to from Rs. 150 – Rs. 200, 13 willing to Rs. 200 – Rs. 250, 5
willing to Rs. 250 – Rs. 300 and 5 willing to More than Rs. 300.
The most liked genre viewers like to see in 3D is horror, then science fiction, and the
least is romantic.
Most of the people prefer to watch 3D movie with their friends.
Too expensive and availability problems are the top most factors according to the
respondents for not watching a 3D movie.
8.2 Recommendations
Most of the respondent has problem watching 3D movies wearing a 3D glass.
Some respondent think that Indian film industry should adopt the realD 3D
technology rather than converting 2D into 3D.
Most respondent think that 3D movie should be watched without wearing a 3D glass
will give a good experience.
Some respondent want that the ticket should be same as the 2d ticket as they feel no
difference.
Most thinks that there are hardly any difference between 2D and 3D.
Chapter 9 – Conclusion
Digital cinema has turned into a fast-moving train, impossible to stop and largely
driven by the box office performance of 3D movies. 3D films are expected to deliver
viewing experiences never seen on big screens. For movie buffs, it’s a treat. For
theater operators, it’s an opportunity.
There is lots of area of improvement in 3D for example in 3D glass which can
improve the viewing experience Film industry should adopt the realD 3D technology
rather than converting 2D into 3D.
Chapter 10 – Bibliography, References and Annexure
Annexure
This questionnaire is purely for research purpose and the responses will be kept strictly
confidential.
Name: ……………………………………………………………….
Email: ………………………………………………………………
Age Group: 18 to 30 31 to 40 41 to 45
Gender: Male Female
Occupation: Student Employee Self - Employed Other
Income level
Less than 2.5 lakhs per annum 2.5 lakhs to 4.0 lakhs per annum
4.0 lakhs to 7.0 lakhs per annum 7.0 lakhs to 10.0 lakhs per annum
Above 10.0 lakhs per annum
1 Have you ever experienced a 3D movie? (If 'Yes' please proceed from Q3
onwards, if 'No' please answer Q2)
Yes
No
2 Rate the following reasons for not watching a 3D movie? On the scale of 1 to 5 where
1 the least and 5 the highest.
Parameter 1 2 3 4 5
Availability problems
Bad word of mouth
Too Expensive
Eyewear problems
Less dereference between
2D & 3D
Not aware
3 What is your perception about the price of 3D movies tickets? Tick any 1 of the
following options.
Parameter Tick
Too expensive
Very expensive
Expensive
Somewhat expensive
Not at all expensive
4 How much you are willing to pay for a 3D movie ticket?
Rs 50 – Rs 100
Rs 100 – Rs 150
Rs 150 – Rs 200
Rs 200 – Rs 250
Rs 250 – Rs 300
More than Rs 300
5 Give your level of agreement for the following statements with respect to preference
of viewing of 3D movies.
Statement
Strongly
Disagree
Disagree Neither
Agree
nor
disagree
Agree Strongly
Agree
I like the experience of
watching 3D movies better
than 2D movies
I enjoy watching 3D movies
more than 2D movies
Sound effect is much more
clear
I would recommend others to
watch 3D movies
6 Give your level of agreement for the following statements with respect to benefits of
3D movies.
Statement
Strongly
agree
Agree Neither
Agree nor
disagree
Disagree Strongly
disagree
It gives a richer viewing
experience
It helps to understand the
subject much more properly
It feels good to watch
The picture quality is much
clearer and defined
3D is more immersive
7 Give your level of agreement for the following statements with respect to drawback
of 3D movies.
Statement
Strongly
agree
Agree Neither
Agree nor
disagree
Disagree Strongly
disagree
They cost of tickets for 3D
are more expensive than 2D
movies
Viewing movie in 3D
causes headache
It is irritating to watch a
movie wearing a 3D glass
Is it difficult for the eyes to
adjust back to normal after
watching 3D movies
8 What genres of movies would you most like to see in 3D? (you can tick only one)
Horror
Comedy
Action
Science fiction
Romantic
9 With whom would you prefer to watch a 3D movie?
Family
Friends
Relatives
Colleagues
10 Are you happy with the current 3D technology or do you like to see any changes?
Bibliography
http://www.wikipedia.org/
http://alexandria.tue.nl/extra2/200610884
www.timesofindia.indiatimes.com
http://3defence.blogspot.in/
http://www.brandwatch.com/wp-content/uploads/2012/01/Brandwatch-Example-Report-3D-
Films.pdf
Marketing Management – Philip Kotler (Reference Book)