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Legend 3D has worked on at least a dozen films in the Disney family of studios (which includes the Disney brand, Marvel Studios, Pixar, and Lucasfilm). This working relationship has proven very successful, as the studio’s pictures are consistently among the biggest box office grossers and are precisely the sort generating high levels of 3D attendance, so their impressive box office totals benefit a lot from higher ticket prices for 3D. In total, the films on which Legend 3D has done post-conversion have accumulated almost $8 billion in domestic box office, more than $15 billion in foreign receipts, and $23 billion worldwide, much of it coming from 3D work on Disney and Marvel pictures in the past several years.ĭisney topped $7 billion in global box office in 2016, and just passed $6 billion this year. Legend 3D has done 3D post-conversion on 55 movies to date, including several big releases this year, such as the LEGO Ninjago Movie, Spider-Man: Homecoming, Thor: Ragnarok, Pirates of the Caribbean: Dead Men Tell No Tales, and King Arthur: Legend of the Sword. Disney for example has been releasing a large slate of content in India via UTV Motion Pictures and Disney India.
3D MOVIES FOR 2017 MOVIE
Hollywood has been increasingly reaching out to China and India for all manner of partnerships, as foreign box office has come to dominate film performance and as the movie industries in those two powerhouse countries are increasingly muscular in the marketplace.
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The facility will also provide 3D conversion for movies from other nations as well.
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Earlier this month, the company announced plans to open a facility in China's Luoyang National University Science Park, in Luoyang City, for work converting Chinese productions into 3D. The facility will provide services not only for 3D conversion, but also for virtual reality production, visual effects work, and animation. Last October, the company opened a new facility at the Suzlon “One Earth” campus in Pune, India.
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With Asia Pacific region being such a huge driver of 3D cinema, as well as the growing market share of cinema from that region, it makes sense Legend 3D would be interested in expanding into that region. The way each of these factors enhances the power of the other factors, and how they feed one another to exponentially increase viewership and growth for 3D cinema, is the multiplier effect. Legend 3D's Foley points to three key elements driving consumption of 3D worldwide and creating what he terms a multiplier effect: the increased number of Hollywood films penetrating foreign markets, especially in China where the number of permitted Hollywood releases will increase in coming years the rising number of movies produced in the Asia Pacific market, and in China in particular (where many of their productions now wind up among the highest-grossing pictures worldwide each year) the large percentage of screens offering 3D viewing (98% in China, for example) and the number of new screens built every day in the Asia Pacific region, with China representing a massive portion of the new screens. The Asia Pacific region is where 3D is most prominent as a percentage of total screens, representing 78% of digital screens - they have almost three times as many 3D digital screens as we have in the U.S. 3D screens grew 17%, more than double the overall theater expansion rate, and 3D screens now represent 56% of digital screens worldwide. Construction of new screens proceeds at a rapid pace internationally, driven by huge growth in China and other markets in the Asia Pacific region. It was an illuminating experience, as I've long been a 3D enthusiast and argued it's a powerful and permanent part of modern filmmaking, but I frankly had no idea just how aggressively 3D was taking over the most important region for cinema's future.Īlthough domestic 3D box office receipts were off about 8%, to $1.6 billion, foreign appetite for 3D continues to be strong, particularly in Asia Pacific region. I visited Legend 3D's headquarters in Los Angeles, and sat down for on-camera conversations with CEO Aidan Foley and Chief Creative Officer Richard Baker (see videos, below).