ITV

Category: Production House

  • FremantleMedia acquires stake in 495 Productions

    FremantleMedia acquires stake in 495 Productions

    MUMBAI: FremantleMedia, has signed a deal to acquire a majority stake in 495 Productions, a US-based production company, known for its cutting edge reality programming.  Under the terms of the deal, FremantleMedia will have a 75 per cent holding with the opportunity to acquire the remaining shareholding in the future.

     

    This acquisition adds another strong and prolific US production companies into FremantleMedia’s increasingly diverse group of North American holdings, alongside its subsidiary FremantleMedia North America (“FMNA”) and previous acquisition Original Productions.

     

    Founded in 2006 by SallyAnn Salsano, one of the preeminent US entertainment producers and creators, 495 Productions is a formidable hit factory specialising in riveting unscripted character-driven reality series with colourful personalities at their heart.  The company developed and produced the pop-culture phenomenon series Jersey Shore, which went on to become MTV’s highest-rated show in its history and a global hit with multiple spin-offs including Snooki and JWOWW, The Show with Vinny and The Pauly D Project.

     

    Other ground-breaking productions include Spike TV’s Tattoo Nightmares, which FremantleMedia already distributes internationally, and Repo Games; MTV’s dating show Friendzone and the daytime syndicated talk show The Real for which SallyAnn Salsano is the executive producer. 

     

    The company also produces recent ratings hits Jerks with Cameras for MTV, Tattoos After Dark for Oxygen and Party Down South, which has quickly established itself as CMT’s highest-rated series ever.

     

    FremantleMedia  CEO Cécile Frot-Coutaz in a press statement said, “495 Productions is undeniably one of the US’s leading reality production companies with a unique approach to formatted character-driven reality shows which have proved compelling TV in the US and around the world.  This deal will allow us to expand our share of the valuable US cable market and will complement and diversify our existing portfolio of content and clients.  Together, our ambition is to continue to grow 495 Productions in the US and to broaden its global footprint even further through our extensive distribution and production network.”

     

    FremantleMedia North America CEO Thom Beers added: “SallyAnn is a brilliant leader, an unstoppable creative force and one of the most successful producers in the entertainment industry. Since founding the business 2006, she and the talented creative team at 495 Productions have built the company into a powerhouse responsible for some of the most watched and talked about programming on TV at the moment. This is a key strategic acquisition for FMNA which, with both Original Productions and 495 Productions in the fold, now commands a best-in-class production slate across all family, male and female demos, and for network, cable and syndication platforms.”

     

    495 Productions has enjoyed great success in the US with shows airing across major broadcast and cable networks including a long-standing relationship with MTV and other Viacom channels such as Spike, CMT and VH1 and more recently with Fox, TLC, SyFy, Oxygen, National Geographic, TV Guide, A&E, Lifetime and History Channel.  Additionally, the company has recently signed a multi-year deal with Warners’ Telepictures Productions for SallyAnn’s services as executive producer on new shows for syndicated television, the first of which, The Real, launches this fall.  The company’s production team and the casts of its shows have been nominated for Daytime Emmy Awards and People’s Choice Awards and have won Teen Choice Awards for two years in a row.

     

    495 Productions founder SallyAnn Salsano commented: “This is a huge moment for me and the entire team at 495. That said, the decision of who to partner with and where to make my new home was easy because of my long term relationships with both Cecile and Thom. They know me, they understand how I run my business and they appreciate the way I produce my shows. I started this company with nothing in 2006 and this is proof that if you love what you do, work your ass off and want it bad enough someone will notice and it will pay off.”

  • Walt Disney to acquire Maker Studios

    Walt Disney to acquire Maker Studios

    MUMBAI: Furthering its goal of bringing content to consumers on all the platforms they prefer, The Walt Disney Company (NYSE:DIS) has agreed to acquire Maker Studios, the leading network of online video content on YouTube.

     

    Maker Studios shareholders will receive total consideration of $500 million, and a performance-linked earn-out of up to $450 million if the strong performance targets are met.

     

    With more than 55,000 channels, 380 million subscribers and 5.5 billion views per month on YouTube, Maker has established itself as the top online video network for Millennials.

     

    By acquiring Maker Studios, Disney will gain advanced technology and business intelligence capability regarding consumers’ discovery and interaction with short-form online videos, including Disney content.

     

    “Short-form online video is growing at an astonishing pace and with Maker Studios, Disney will now be at the center of this dynamic industry with an unmatched combination of advanced technology and programming expertise and capabilities,” said Robert A. Iger, Chairman and Chief Executive Officer, The Walt Disney Company.

     

    “Disney is synonymous with the best entertainment and is the ideal partner for us, strengthening our position as the leading player in online video,” said Ynon Kreiz, Executive Chairman and CEO of Maker Studios.  

     

    Maker Studios will report to Disney Chief Financial Officer Jay Rasulo. Maker Studios will remain headquartered in Culver City, Calif., with operations in New York and London.

     

    The transaction, which is subject to regulatory clearances, is expected to close in Disney’s third fiscal quarter.

  • Maya Digital Studios launches its 2D animation department

    Maya Digital Studios launches its 2D animation department

    MUMBAI: One of the pioneers in the art and technology of animation and visual effects in India – Maya Digital Studios – has announced its entry into 2D animation. The studio has launched its new 2D animation department with advance technology and facilities. After the huge success of its IPRs, Motu Patlu and Vir in 3D, Maya is now aiming to create a benchmark in 2D segment of domestic television.

     

    Maya Digital Studios chairman and MD Ketan Mehta said in a press statement: “India’s animation sector is growing at a rapid pace. Also there is an increased use of animation in TV advertisements creating a need for good animation studios with 2D and 3D specialisation. As per FICCI KPMG report 2014, the Indian TV advertisement industry size is expected to increase from Rs 136 billion in 2013 to Rs 253 billion in 2017 at a CAGR of 13 per cent. As the advertising industry grows it is expected that the share of animation driven advertisements will also grow, given that animated advertisements usually strike a better chord with the target group of children and young adults. Hence it was a very strategic move to introduce 2D animation at Maya Digital studios.”

     

    Marking the launch of its new 2D animation department, Maya Digital Studios is also hiring professionals for the position of concept artists, storyboard artists and story screenplay artists for their new department.

     

    Commenting on the expansion of animation industry, Mehta further added: “The current size of the industry is estimated at US$ 247 million and expected to grow at 15-20 per cent per annum. Indian animation companies and studios have been moving up the value chain to create their own intellectual property rights. 2D animation software is a fun way to create amazing scenes from one’s imagination; hence our new 2D animation segment allows us to build more IPR’s.  We are already in talks with broadcasters for two new IPR’s and are extensively looking at tapping the domestic television industry in coming years.”

     

    Maya Digital Studios has specialised in stereoscopic 3D and offers services for S3D visual effects, S3D CG rendered animation and with the new 2D animation department is all set to capture the growing Indian market.

  • The TV Formats business is doing very well, thank you!

    The TV Formats business is doing very well, thank you!

    MUMBAI: The production volume generated by the TV format business globally was in excess of 9 billion euros as estimated by a FRAPA study in 2009.  Estimates are that this could have crossed euros 10 billion by now.

     

    Indiantelevision.com calculations place the size for the business in India at around Rs 950 crore nationally, for shows which are produced from international, indigenous formats and even format TV show imports.

     

    Dance India Dance,  one of the most popular original Indian formats in recent times, and has now branched out and in its four season run, spawning three spin-offs’ viz., Dance India Dance: Super Moms, Dance India Dance: Li’l Masters and Dance India Dance Doubles. Cadbury Bournvita Quiz Contest remains India’s oldest original format to be still in production, since its inception back in 1972; and still remains India’s longest running quiz contest. India has adapted quite a few international reality formats, namely, Who Wants to Be a Millionaire, Masterchef, Big Brother, Britain’s Got Talent, American Idol, Dancing with the Stars and Road Rules, along with adaptations of scripted formats such as 24 and The Killing currently in production.

     

    Earlier this month, UK research firm Madigan Cluff released its annual state of the union update and report on the business titled TV Formats in Europe 2014. It states that despite the global prolonged advertising recession and the fact that several major titles have peaked, the TV formats market in Europe is showing remarkable resilience. The value created by the top 100 formats was $2,931 million in 2013 for 84 European channels across the 16 territories and 21 distributors, according to the TV Formats in Europe report. The value created by formats for UK broadcasters was $600 million in 2013, down from $677 million in 2012. The number of hours broadcast reached 28,386 in 2013. France’s TF1 ($332 million) was the leader with Italy’s Rai 1 at No 2 and the UK’s BBC1 at third spot. Russia’s 1TV entered the top 10 in 2013 —by more than doubling its formats revenues in the year.

     

    The UK, followed by France is the TV formats leader in Europe. France recorded $599 million in 2013, up from $547 million in 2012. The UK, France, Germany and Italy accounted for 72 per cent of Europe’s total value created in 2013.

     

    The total number of hours broadcast in Europe for the 100 formats was 28,386 in 2013 with the UK coming up as the leader again, despite its 2013 total was estimated at 3,935 being considerably lower than in 2012, which was estimated at 4,623. Romania took third place, having added 645 hours to its total in 2013. 

     

  • FremantleMedia to bring ‘Benefits Street’ to MipTV

    FremantleMedia to bring ‘Benefits Street’ to MipTV

    MUMBAI: FremantleMedia and Love Productions todayannouncedan acquisition deal that sees FremantleMedia take the worldwide rights (excluding UK and North America) to Benefits Street, the most talked about and opinion-dividing show in the UK.Givinga no holds barredaccount of the reality of life on state welfare,the controversial social reality showrecently aired on Channel 4in the UK, and became the highest ratingseries for the channel in three years.

    Benefits Streetdivided the country and sparked a national debate in every home,office and even in parliament. Highlighting social issues, the show reveals the reality of life on benefits as the residents of one of Britain’s most welfare-dependent streets invite cameras into their tight-knit community. The series follows the residents as they navigate their way through life enduring economic hardships, raising children in poverty, low levels of education and training, and crime. Despite the challenges, the street has a strong sense of community. This is a place where people look out for one another and where small acts of kindness can go a long way.

    The UK version of the show launched in January and achieved a peak audience of 6.5 million viewers. Over the course of the series20.7 million viewers sampled the show, a massive 35% of the UK’s TV population.Throughout the series, Benefits Street continuously ranked as the number one show in its time slot amongst young adults (16-34). The show created such a strong reaction, including a social media storm,that an additional live debate show,Benefits Street: The Last Word, was commissioned.A second series of Benefits Street is in the pipeline.

    Rob Clark, Director of Global Entertainment Development, FremantleMedia said: “I’m a huge fan of this show. It is a noisy, gloves-off, groundbreaking reality series that at times is touching and heartwarming. It covers a social issue that affects us all and cannot be ignored. I watched it on Channel 4 and am proud to launch it internationally at MIPTV.”

    Richard McKerrow, Chief Executive of Love Productions said: “Benefits Street caused a huge stir when it was broadcast in the UK, engaging record-breaking audiences in serious social issues. We are delighted to be working with FremantleMedia and very excited to be bringing this show to the international market”.

     

  • MISO film heralds new Swedish production office with two new commissions

    MISO film heralds new Swedish production office with two new commissions

    MUMBAI: Danish production company, Miso Film, is to expand its Scandinavian footprint by opening a new office in Sweden to produce both feature films and TV-series for the Scandinavian and international market. Headed up by Sandra Harms, Miso Film Sweden already has a TV commission and feature film in the works.

     

    The company’s first TV-series is supported by Sweden’s TV4. Based on the novels of Norwegian thriller writer Anne Holt, VIK/STUBÖ will be a 8 x 45’ series, adapted for TV by three-times Emmy award-winning writers Peter Thorsboe and Mai Brostrom (Unit One, The Eagle, The Protectors). Shooting is expected to begin in Stockholm at the beginning of 2015.

     

    Miso Film Sweden has also optioned the rights for the book 438 DAYS by Johan Persson and Martin Schibbye, centred around the time the two journalists spent in an Ethiopian prison. The book was nominated for an August last year and is already a bestseller with over 100,000 copies sold in less than six months. Development of the project has already begun with the screenplay written by Peter Birro (Monica Z, How Soon Is Now?).

     

    Peter Bose, co-founder of Miso Film says: ”With a number of highly successful films and TV series in the Norwegian and Danish market, it was an obvious next step for us to move into Sweden. The move allows us to expand our footprint in Scandinavia and build on our experience of working in Sweden through titles like on BECK and WALLANDER.”

     

    Jonas Allen, co-founder Miso Film added: ”It’s really important to us for Miso Film Sweden to become a strong independent company in its own right and not just a Swedish mailbox for our Danish company. That’s why we’re delighted to have someone of Sandra Harms’ calibre on board. Over time, we’ll be looking to expand the production team and the home-grown talent further.”

     

    Sandra Harms joins the new company from Sonet Film/SF, with a string of feature films to her name, including Princess (Teresa Fabik), Bekas (Karzan Kader) and Us (Mani Maserrat). She adds: ”I’m delighted to be joining a company like Miso Film, which enjoys a reputation for quality at home and abroad. I’m very proud to be part of Peter and Jonas’ new venture and look forward to growing and developing the business in Sweden and maintaining the quality and calibre of the content that audiences come to expect of us.” 

     

    Founded in 2004 by Jonas Allen and Peter Bose, Miso Film has produced a number of successful TV-series including DICTE, THOSE WHO KILL, VEUM, which have been sold to over 40 international markets. This includes an American remake by Fox 21 & Imagine Television of THOSE WHO KILL, starring ChloëSevigny. Miso Film’s next major series, 1864, about the Schleswig War, will premiere in Autumn 2014 on DR in Denmark, followed by TV4 in Sweden.

     

    In 2013, FremantleMedia acquired a majority stake in the company, providing Miso Film with a strong international base from which to distribute its content, while also giving FremantleMedia an important foothold in Scandinavian scripted drama.

  • Reliance MediaWorks: 400 and counting…

    Reliance MediaWorks: 400 and counting…

    MUMBAI: The field of visual and special effects is really gaining ground in films nowadays and a company that has done some great work in this area is the Anil Dhirubhai Ambani run Reliance MediaWorks – the media and techno-creative solutions provider and a part of the Reliance Group.

    The company commemorated the landmark achievement of completing 400 films with a star studded event graced by accomplished cinematographers, directors and producers that Reliance MediaWorks has worked with including Mahesh Limaye behind the Dabangg fame, Anil Mehta renowned cinematographer behind Saathiya, Laagan and Ketan Mehta director of Mangal Pandey: The Rising, to name a few.

    Reliance MediaWorks CEO Venkatesh Roddam in a statement said: “At Reliance MediaWorks we have always believed in adding value to the filmmaking process by keeping up to date with the latest technology and techniques. The completion of 400 Films is a testimony of our commitment and hard work.”

    Set up in 2008 as Asia’s first digital intermediate lab with a 4K facility, the Reliance film lab has revolutionised the way films are processed in India. Having worked with reputed production houses such as Dharma Productions, Yashraj Films, Balaji Motion Pictures and Red Chillies Entertainment, amongst others, its consistent efforts have helped reduce the costs of films and increase the speed of overall production.

    Amole Gupte with the team of Reliance MediaWorks

    Reliance MediaWorks also offers cutting edge VFX Solutions to Indian and International productions through its state of the art VFX studios in LA, London and Mumbai. With specialisation in highly complex VFX, the company and its team of award winning artists stand at the forefront of an extremely dynamic world of VFX production.

    Reliance MediaWorks post production services president Krishna Shetty added: “Digital filmmaking has opened up greater possibilities and opportunities for filmmakers than ever before. Every movie, from the massive big budget blockbusters, to the small independent films made on a shoestring budget, has been influenced by the advents in digital technology and filmmaking. We look forward to continuing our efforts to reinvent the ways in which movies are viewed.”

    Equipped with a state of the art DI facility to cater to film, TV and web related video content, the team has worked on a slew of recent blockbusters that include Chennai Express, Goliyon Ki Raasleela Ram Leela, Krrish 3, Yeh Jawaani Hai Deewani, 3 Idiots and Singham, amongst others.

    (L-R) Mahesh Limaye, Nishith Shetty, Ketan Mehta, Anil Mehta, Anita Kaul Basu, Siddharth Basu and Venkatesh Roddam

     

  • FremantleMedia International and Roland Joffe to develop ugly

    FremantleMedia International and Roland Joffe to develop ugly

    MUMBAI: FremantleMedia International (FMI) and the Oscar nominated film director and writer, Roland Joffe (The Killing Fields, The Mission), today announced a co-development partnership for TV series Ugly. Joffe will write the vividly emotional and imaginative retelling of the world famous French gothic Victor Hugo novel, The Hunchback of Notre Dame. Played out against the political economic and social explosion of early 17th Century France, the series follows the life of Ugly, the physically impaired hero of the piece and features a cast of extraordinary characters.

    Roland Joffe said, “It’s a cruel conundrum that beauty – much as it is desirable and desired – may be a prison both for those who have it and those who want it. At one level we all think we know what beauty is, but there are as many different kinds of beauty as there are varieties of love. Though physical beauty may encourage the continued expansion of the population at large, it may only be inner beauty that guarantees it’s continued and continuing existence. In our story, Ugly is beautiful and much of what passes for beauty is ugly. Such is life, and life and love, cruelty and compassion, morals and money, are the subjects of our story.”

    Sarah Doole, Director of Global drama, FremantleMedia said, “FremantleMedia International are beyond excited about the opportunity to work with the extraordinarily talented Roland Joffe. Ugly is truly captivating and exactly the type of project that we have been seeking in our efforts to grow our creation of high end scripted dramas. We are looking forward to discussing the project with the broadcasters at MIPTV.”

    In 1695 in the chateau of the Comte de Chateaupers a baby is born. Joy at the baby’s birth is quickly extinguished as it is discovered that the baby boy is deformed. At first sight, his grandmother hurriedly brings a pillow to spare the child from a life of pain and despair, but something in the child’s eyes stops her. Hours later a troupe of travelling actors discover a basket and within lies the newborn baby of surpassing ugliness. Meanwhile, the intemperate Comte de Chateaupers is presented with an heir, never knowing that the child has been hastily bought from a poor woman of the village. The series embarks on a heart-felt journey and shows what it means to be human regardless of your outward appearance. To wrestle with greed, insecurity and fear, to discover the force of compassion, the pain and power of love and the finding of beauty where it is least expected.

    Joffe is universally praised for his international style of moviemaking. Beginning his career in British theater, Joffé was the youngest director at the National Theatre before entering the world of television via Granada, Thames and the BBC. Having worked across successful shows such as Coronation Street, The Stars Look Down and Bill Brand, he had the opportunity to hone his craft. Joffe found his initial success with two episodes of Play for Today, namely The Spongers, winner of a prestigious Prix Italia award and the Best Drama accolade at the Prague Festival, and United Kingdom, featuring Colin Welland. For the latter show, Joffe was nominated for a BAFTA and this laid the groundwork for his first film, The Killing Fields, a frighteningly realistic depiction of a Cambodia torn apart by war and terrorism. The Academy of Motion Picture Arts and Sciences acknowledged Joffe with his first Best Director nomination. Nominations for the Golden Globe, BAFTA and Critics Circle Awards bear testimony to his outstanding work on this film. The director’s second feature, The Mission, was hailed as a sweeping, cinematically beautiful historical drama about an 18th-century Jesuit mission in the Brazilian jungle. The film was the recipient of seven Oscar nominations, including one for Best Director. It was also awarded the coveted Palme d’Or as best motion picture at the Cannes Film Festival and won Italy’s Michelangelo Prize.

    Visit FremantleMedia at MIPTV 2014 at Stand No. C11.A1 (Croisette 11, Aisle 1), 7 – 10 April.

     

  • Entertainment industry needs a reality check in terms of economics: Venkatesh Roddam

    Entertainment industry needs a reality check in terms of economics: Venkatesh Roddam

    MUMBAI: Media and entertainment firm (known for its post production and VFX capabilities)  Reliance MediaWorks (RMW) CEO Venkatesh Roddam met us at the recently concluded FICCI Frames 2014. The man, who exuded a lot of positivity in his conversation infused with humour, seemed to be quite upbeat about the feat the company has just achieved of providing post production services to 400 Indian films so far.

     

    By the end of 2011, the number was 110. Roddam doesn’t think the meteoric rise is because of him. Roddam, who became RMW CEO in 2011, feels its growth is a result of the inclusive structure that it has in place. With enough humility, he confesses that while he takes all the money and business related decisions, it’s the team that keeps RMWL ticking.  “If you ask me specific questions, you will normally find me at a loss for answers,” he professes as he introduces Nishit Shetty, the company’s vice-president, operations who has a handle on what’s going on day to day.

     

    However, taking the conversation forward, he says, “In the entertainment business, creativity is just one part; it has to be backed by economics.” He puts forward an interesting example of Life of Pi. “Even as Rhythm & Hues the company was bagging a visual effects Oscar for it, its founders had decided to go ahead with a bankruptcy filing,” he says.  “That is not something that should happen. And at the end of the day the purpose of the business is to make money. The industry globally needs to have a reality check about the economics. ”

     

    Nishit decides to dive into the conversation as he talks about the VFX studio’s initial foray into post-production in 2008 with the film Sarkar Raj. “It was a gradual process. We were taking up projects slowly,” says Nishit. RMW has worked on visual effects for several international and domestic films. Transformers 3 – The dark of the Moon, Conan the Barbarian, Expendables 2, GI Joe Retaliation, Chennai Express, Queen, and many southern and Bengali films figure on its slate. In fact, in the time to come the company is looking to tap the regional film industry even more.

     

    Also, now Nishit says that RMW is reaching out to a new constituency: that of smaller film production houses and independent filmmakers. “There’s a lot of business potential in that segment as a lot of new filmmakers are coming up with great ideas and need better presentation,” he reveals.

     

    “At RMW we have always believed in adding value to the film making process by keeping up to date with the latest technology and techniques which has worked in our favour,” highlights Roddam.

     

    RMW is looking at expanding its Big Cinemas theatrical exhibition chain.  “So say, if right now we have 260 total screens, we may increase that by around 50 more in the next 12 to 18 months,” he says.

     

    “Our operating margins have continuously increased over the years. We have a distinct advantage of having a presence of screens both in semi-urban and semi-rural areas. We will continue to expand this year to offer an experience like none other to our patrons while at the same time keeping an eye for growth coupled with good profits,” remarks Roddam, adding that it doesn’t want to offer just a good cinema viewing experience to its patrons “but a holistic one with a strong focus on retail, food and beverage, gaming amongst others”.

     

    Another big development is the building up of studios (shooting floors) at the Film City in Mumbai. The company already has two fully functional studios there since the last two years, now Roddam informs that a major studio was commissioned this month which is positioned as the “largest studio in Asia” and four other stages are to be commissioned by the end of May.

     

    The company is also looking to expand its TV production wing – Big Synergy which is headed by the legendary Siddharth Basu – with path-breaking non-fiction programming. However, Roddam wants to keep the details for another conversation.

  • Namit Malhotra nominated to International 3D and Advanced Imaging Society’s 2014 Board of Governors

    Namit Malhotra nominated to International 3D and Advanced Imaging Society’s 2014 Board of Governors

    MUMBAI: Namit Malhotra, founder of Prime Focus (and Chairman & CEO, Prime Focus World) has been nominated to the prestigious 2014-15 Board of Governors of the International 3D and Advanced Imaging Society. 38-year old Namit is the first ever Indian to make it to the Board of the global Society. Incidentally, Prime Focus World had won the Society’s annual Creative Arts award in ‘Theatrical Motion Picture — Outstanding 2D to 3D conversion’ category for its spectacular work on Gravity in late January.

    Mike DeValue, Director of Advanced Technology at The Walt Disney Studios, and Tom Cosgrove, President and CEO of 3net and 3net Studios will serve as co-chairs. Kappei Morishita, Vice President and General Manager at Panasonic Hollywood Labs (PHL), will serve as the Society’s vice chairman.
     

    Commenting on the nomination, Namit Malhotra, Founder of Prime Focus (and Chairman & CEO, Prime Focus World) said, “it is a great honor to be part of the Society’s board and be collaborating with the brightest minds in the industry comprising of content creators, creative service providers, technology companies and delivery platforms. Post the unprecedented success of Gravity, 3D has regained its rightful position under the sun, and audiences and filmmakers alike are looking at 3D in a whole new way as an enabler of compelling story telling. I look forward to interesting times.”
     

    Nominated as governors also were Grant Anderson of Creative Monster Productions, Paul Becker of Gener8, cinematographer Matt Blute, Chuck Comisky of Chromium Labs 3D, Doug Davis of BitSpeed, William Foote of Samsung Electronics, Ron Geller of Dolby Labs, Thierry Henkinet of Volfoni, Matt Liszt of MasterImage 3D, Ingo Nadler of 3doo, Barry Sandrew of Legend 3D, Steve Schklair of 3ality Technica, William Sherak of StereoD, Lisa Truitt of National Geographic Cinema Ventures, Corey Turner of Paramount Pictures (News – Alert), Mark Turner of Dolby Labs, and Bob Whitehill of Pixar.
     

    “3D movies and premium content formats continue to be a strong part of the entertainment industry’s business plan. In 2013 alone, 16 of the top 20 highest grossing worldwide box office movies were 3D feature films. And over the last 5 years, 11 3D movies have been honored with a remarkable 30 Academy Awards,” stated Society President Jim Chabin. “With professional members in the US, China, Japan, Canada, the UK, and the EU, the Society is truly at the intersection where movies, television, games, and media will build their futures as premium consumer experiences. Our board brings together the world’s best experts on the media of tomorrow. They help insure that we will maximize the return on all of our investments in content and digital technology,” said Society President Jim Chabin.
     

    The International 3D & Advanced Imaging Society was founded by leading creative stakeholders, including The Walt Disney Studios Motion Pictures, DreamWorks Animation (DWA), Sony, Paramount, IMAX, Dolby, Panasonic, MasterImage and others to advance the creative arts and sciences of stereoscopic 3D and 4K. With chapters in the U.S., China, Japan, Canada, the E.U. and the U.K., the organization has more than 1,800 professional members in over 20 countries active in improving the arts and technologies of 3D and 4K excellence. The organization hosts professional education seminars and awards throughout the world.