The view from Digital Hollywood looks pretty grim to me. 3-D TV was a disappointment, 4K TV (aka Ultra HDTV) is pretty much a useless extravagance, quality video is a poor stepchild in today’s wireless world and nobody wants to buy movies anymore.
Two Digital Hollywood insiders I talked to in a recent trip there expressed optimism given the breadth and pace of activity these days. Still, I see a town in search of the next big thing.
After its big debut a couple years ago, 3-D TV was hardly mentioned at the recent Consumer Electronics Show and broadcasters have pulled the plug on some 3-D channels. The lack of content and the need for glasses are both taking the blame for 3-D’s fizzle in the home.
Some had high hopes for the autostereoscopic approach Philips pioneered. But few think Dolby, which now owns the technology, has the clout to drive it forward. After a big belly flop, climbing back on the diving board is harder.
Samsung is pushing 3-D TV forward with work on a Bluetooth standard for active shutter glasses with backing from Panasonic and Sony. It also set up a facility in South Korea to convert 2-D content to 3-D.
Live sports is a big missing piece. “If the Super Bowl was broadcast in 3-D, this would be a different discussion,” said Brad Hunt, principal of Digital Media Directions (Westlake Village, Calif.).
The Ultra HDTV (4K x 2K) displays at CES seem to have left everyone cold. To really see all those extra pixels you need the equivalent of a 96-inch home TV, but even the more standard size screens are way too expensive for the average Joe, I am told.
The trouble is without a next big thing like 3-D or 4K, TVs remain stuck with their role as a commodity product. “We are back to TV sets sold by the inch so it’s hard for anyone to make a profit--and 4K is potentially a race to the bottom,” said Andrew G. Setos, chief executive of Blackstar Engineering (Pacific Palisades, Calif.) and a veteran audio-visual engineer.
“I think the improvement could come in truly lower cost of manufacturing--not by lower labor costs but a new mechanism that may be protected by patents--then TV manufacturers could make profits, but until then they are in a world of hurt,” he said.
@Gert22306: "From what I've read, the movie studios are subsidizing the shift to digital cinema."
They may in the case of big chains. If you are a smaller independent, you are likely SOL. I just saw an online note that a respected independent theater in Boston was doing a Kickstarter campaign to get the funding to convert. They're a "rep house" who tends to show foreign films, classics and the like, and are looking at a future where they won't be able to get film prints, and if they can't show digital, they're gone.
They play a vital part in getting films before a discerning public, but *don't* generate the kind of revenue that would make it a studio's while to subsidize them.
I can think of a couple of theaters near me in NYC that are likely in the same position. It will bite the filmmakers too at some point - how many pictures get limited release on less than 100 screens because the studio doubts it will be a breakthrough film, but hopes the limited release will build word of mouth that might lead to wider release and popularity? It's precisely the theaters that tend to get those limited releases that may not be able to afford the costs of switching.
David Patterson, known for his pioneering research that led to RAID, clusters and more, is part of a team at UC Berkeley that recently made its RISC-V processor architecture an open source hardware offering. We talk with Patterson and one of his colleagues behind the effort about the opportunities they see, what new kinds of designs they hope to enable and what it means for today’s commercial processor giants such as Intel, ARM and Imagination Technologies.