Ali Kazimi Archives | Research & Innovation

Toronto Star covers inaugural 3D film conference led by 91��ɫ researchers

fmaquito — Mon, 13 Jun 2011 08:00:00 +0000

And as the film world continues its rapid transition from traditional 2 D celluloid film to 3 D digital, a weekend conference at the TIFF Bell Lightbox is aimed at boosting the Toronto film community’s chances of capitalizing on the next wave in film – 3-D, wrote the :

The [] conference is co-sponsored by 91��ɫ’s Faculty of Fine Arts and the 3-D Film Innovation Consortium (3D FLIC), a group of GTA-based film companies.

Ali Kazimi, professor in the University’s film department, said the three-day event will bring together an “eclectic mix” of filmmakers, artists, academics and theorists. “It’s a truly interdisciplinary event. We believe it’s not just a first in Canada, we believe it’s the first time anywhere in the world that these...fairly disparate groups of people have been brought together to discuss the future of 3-D cinema,” Kazimi said.

“I think this is going to be a very special event for the city. Our project has really put Toronto on the map because with this incredible sharing of knowledge,” he added.

Until the debut of Avatar in December, 2009, there was little interest in 3-D as a new frontier in film, Kazimi said. “Now everybody is jumping on the bandwagon. As a filmmaker, I feel it’s a very exciting time because when used properly, 3-D offers a whole new language for filmmakers,” Kazimi said.

The conference and 3D FLIC also involve psychology and computer science researchers within the . The centre's conference on runs June 15-18, allowing researchers to attend both events.

For more background on the Toronto International Stereoscopic 3D Conference, see its or this .

Posted by Elizabeth Monier-Williams, research communications officer, with files courtesy of YFile– 91��ɫ’s daily e-bulletin.

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Toronto International Stereoscopic 3D Conference begins Saturday

fmaquito — Thu, 09 Jun 2011 08:00:00 +0000

Conference driven by 91��ɫ research in digital media, psychology, vision and computer science

The , a one-of-a-kind gathering of experts in stereoscopic 3D art and entertainment, takes place in Toronto June 11 to 14. Major figures from the USA, UK, Russia, Germany and Canada will convene at TIFF Bell Lightbox to address and analyze the latest developments in the field.

Speakers include renowned German director , Irish director and U2 stage designer , , co-founder of IMAX and leading international film historian . Minister , will deliver remarks.

The Toronto International Stereoscopic 3D Conference is organized by the (3D FLIC) and researchers from 91��ɫ, including the . Bridging academia and industry, the event is designed to create dynamic synergies to funnel cutting-edge research into 3D production and best practices, to continue to improve the stereo 3D experience and respond to the growing audience appetite for 3D entertainment across all platforms.

Saturday, June 11
What: Official opening night of the Toronto International Stereoscopic 3D Conference

When: 5pm (Please arrive 1 hour early for sound feed)

Where: Cinema 2, TIFF Bell Lightbox, Reitman Square, 350 King Street West, Toronto

Remarks:

Juana Awad, 3D FLIC Project Director
, Associate Dean Research, Faculty of Fine Arts, 91��ɫ
James Weyman, Manager of Industry Initiatives, Ontario Media Development Corporation
Awad introduces Ali Kazimi, Faculty of Fine Arts, 91��ɫ
Kazimi presents German filmmaker and keynote speaker Wim Wenders

5:30pm Keynote address by Wim Wenders, titled “On PINA”

Sunday, June 12
What: Toronto International Stereoscopic 3D Conference, remarks by Honourable Michael Chan, Minister of Tourism & Culture.

When: 10am (Please arrive 1 hour early for sound feed)

Where: Cinema 2, TIFF Bell Lightbox, Reitman Square, 350 King Street West, Toronto

Remarks:

Juana Awad, 3D FLIC Project Director
Nell Tenhaaf, Professor of Visual Arts, Faculty of Fine Arts, 91��ɫ
Honourable Michael Chan, Ontario Minister of Tourism & Culture
Tenhaaf introduces Bill White, partner, 3D Camera Company

10:30am Mini Keynote Canada’s lead on the Stereoscopic 3D World Stage

Dr. Paul Salvini (CTO Side FX Software)
Dr. Kevin Tuer (MD Canadian Digital Media Network)

For more details, see and a previous .

Artistic Direction and Organization Juana Awad, 3D FLIC Project Director 91��ɫ; Professor Janine Marchessault, Canada Research Chair in Art, Digital Media and Globalization, 91��ɫ; and Sanja Obradovic, PHD Candidate Communication and Culture, Ryerson University/91��ɫ.

By Amy Stewart, publicist, Faculty of Fine Arts

Republished courtesy of YFile– 91��ɫ’s daily e-bulletin.

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3D FLIC: Exploring 3D film without nausea and headaches

fmaquito — Mon, 28 Mar 2011 08:00:00 +0000

Lovebirds, a mix of animation and live action from by Toronto company , is the showcase production of the Toronto-based 3D Film Innovation Consortium (), a 91��ɫ initiative that has brought academic researchers and filmmakers together to explore the burgeoning world of 3D filmmaking to achieve better results, wrote Liam Lacey in :

The movie, which unites new research into visual perception with the practical aspects of 3D filmmaking, is part of an attempt to boost the local film economy and improve the 3D viewing experience – with less nausea, eye strain and headaches.

The computer-generated animation portions were created by Starz (which did the 3D animation for the Disney feature ). The live-action set was shot by 91��ɫ professor using a LiDAR device (light detection and ranging, or laser radar) to create a 3D map of the set. The information was integrated into the software with the animated images to ensure accurate placement of the birds against the backdrop and to study depth perception.

Kazimi, whose background is in documentary filmmaking, is cautious about the kind of sweeping generalizations being thrown around about 3D film language, but he believes it heralds fundamental changes in film storytelling, especially in slowing down the pace of films. "There's a lot more visual information for the viewer to absorb and you need to provide the time," he says.

His 91��ɫ colleague, psychologist , is studying how people see 3D, including issues of ghosting, image disparity and motion that can make the experience unsatisfying. Simple things such as screen size and even where you sit in the theatre make a big difference. By sitting at the middle, or toward the back, the viewer can enjoy the most comfortable experience. Seats on the aisles, she suggests, "should probably be discounted."

Complicating 3D experience is the issue of "vection" or the illusion of self- motion which can occur while watching 3D. For some, it may create motion sickness.

Lovebirds will get its world premiere at the Toronto International Stereoscopic 3D Conference, June 11-14 at the Toronto International Film Festival Bell Lightbox.

The 3D FLIC project is led by Professor Nell Tenhaaf; the includes filmmakers, vision scientists, psychologists and industry partners.

Posted by Elizabeth Monier-Williams, research communications officer, with files courtesy of YFile– 91��ɫ’s daily e-bulletin.

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NSERC awards over $1 million to 91��ɫ-led research partnerships

fmaquito — Fri, 21 Jan 2011 10:00:00 +0000

Funding supports projects in 3D film and personalized cancer diagnosis over three years

Two 91��ɫ-led industry-academic partnerships have received a total of $1,237,136 through the 's (NSERC) Strategic Projects Grants program.

Sergey Krylov, professor in the Faculty of Science & Engineering and Canada Research Chair in Bioanalytical Chemistry, has received $773,200 over three years to explore new therapies to treat metastatic cancers – secondary tumors that originate from a malignant primary tumor and subsequently invade different organs.

Right: Sergey Krylov

Laurie Wilcox, associate professor in the Faculty of Health’s Department of Psychology, is co-principal investigator on Depth in Motion with Ali Kazimi, associate professor in the Faculty of Fine Arts’ Department of Film. Theirs will be the first research project to rigorously assess human responses to moving content in stereoscopic 3D film (S3D), while challenging current practices and intuitions filmmakers have garnered through 2D and static 3D experience. The grant is provided through a collaborative initiative between NSERC and the ; NSERC has provided $286,836 while the Canada Council has provided $177,100 for a cumulative three-year total of $463,936.

Left: Laurie Wilcox

Krylov has partnered with , whose Canadian offices are based in Concord, Ontario, to create personalized diagnoses and therapy monitoring for metastatic cancers. Current difficulties in detecting and eradicating these tumors significantly contribute to cancer mortality rates; therapies that are efficient for one patient often do not work for others. Their research uses "aptamers" – short DNA strands capable of selectively binding molecules on cell surfaces to serve as tracers for metastatic cancer tumors and, potentially, as vehicles to deliver drugs to metastatic cells.

Wilcox and Kazimi will collaborate with , associate professor in the Faculty of Science & Engineering’s Department of Computer Science & Engineering and member of the , to create an independent S3D film installation based on a piece of dance choreography and presented in both a large-scale S3D projection format and on multiple S3D displays. Audience members will move through a gallery space and choose to view the large-scale screen or one of the alternative displays containing different motion in depth sequences. The project will evaluate movement’s effect through depth on observer preferences, determine if these preferences are contingent on the nature of the movement, and determine if pacing differences exist between 2D and S3D film content.

Right: Ali Kazemi

Jim Mirkopolos, vice-president of operations for Toronto-based , is the project’s industry collaborator; Cinespace's Kleinburg studios are providing space to set up and test the installation later in the project.

“These projects build on 91��ɫ’s expanding expertise in digital media and life science research, and our value-added industry-academic partnerships,” said Stan Shapson, vice-president Research & Innovation. “Depth in Motion is a natural next step in the 3D film research 91��ɫ began through the in partnership with Toronto-based industry leaders, and demonstrates the innovation unleashed when the creative arts and science converge. Professor Krylov’s work with in 91��ɫ Region has a six-year history that involves two past successful collaborations and will further contribute 91��ɫ’s scientific expertise to the region’s growing and vibrant biotech sector.”

91��ɫ’s projects were among 120 chosen to receive a total of $55 million in funding under NSERC’s Strategic Project Grants program, which aims to turn the results of academic research into real benefits for Canadians.

The announcement was made by Gary Goodyear, minister of state (Science & Technology) in Waterloo, Ontario. “Supporting science and research is critical to Canada’s future economic growth,” said Goodyear. “This investment will bring together 100 teams of some of the world’s top researchers to work with industry on promising new projects that will help strengthen our economy, create jobs and bring other benefits to communities.”

“These Strategic Project Grants show that the NSERC community has risen to the challenge and is putting the federal S&T strategy to work,” said NSERC President Suzanne Fortier. “We received a high number of quality submissions, and the peer review committees were impressed with the research teams’ excellence, their proposals’ importance and potential impact, and the strong support from partners.”

For a complete list of NSERC recipients, visit the website.

By Elizabeth Monier-Williams, research communications officer.

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Professor Ali Kazimi weighs in on human brains and new understanding successful 3D filmmaking demands

fmaquito — Tue, 21 Sep 2010 08:00:00 +0000

James Stewart, a director and founder of Geneva Films, a Toronto-based company specializing in 3-D commercial productions, is in the first wave of people with a great deal of experience filming in 3-D, :

Stewart is in the first wave of people with a great deal of experience filming in 3-D and is very busy shooting concerts, commercials and more. At an industry panel on 3-D at TIFF, he implored independent filmmakers, especially of documentaries, to pitch content-hungry networks like Discovery. However, his biggest concern with 3-D is keeping the quality up.

“My biggest concern is the production of very bad 3-D and it will be coming . . . whenever a film comes out and it doesn't look great, it's not good for the whole industry.” he says. “People who don't know how to produce it properly are going to start shooting 3-D. The indie film world is going to start shooting 3-D, but they need to understand how to produce proper 3-D so it doesn't hurt people's eyes.”

Ali Kazimi echoes that thought. A filmmaker and film professor in 91��ɫ’s Faculty of Fine Arts, he is part of a Toronto-based group called , which teams filmmakers and vision scientists to study the technology and its effects. 3-D requires a new visual grammar that filmmakers are learning and still working out. He says the organization’s work has shown that human brains process a 3-D image completely differently than 2-D.

“With 3-D you actually have the responsibility of the comfort and, to a degree, the well-being of your audience as well,” he says. “To shoot 3-D really requires a fundamental understanding of stereoscopic depth perception, and how the human brain works mechanically and optically. If you don’t have that then you’ll get bad 3-D,” causing many problems such as eye strain, nausea and headaches.

One good reason to want it to succeed is that Toronto is poised to be an important centre for 3-D production. The is funding 3D FLIC and local businesses like Brash 3-D Studios, the 3-D Camera Company and Spatial View (whose a glasses-free 3-D approach has already yielded an iPhone product and an iPad prototype) are doing well and hoping to cash in as 3-D acceptance continues to grow.

Posted by Elizabeth Monier-Williams, with files courtesy of YFile– 91��ɫ’s daily e-bulletin.

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3D FLIC project brings film studios to 91��ɫ to work on 3-D technology, writes Toronto Star

fmaquito — Wed, 04 Aug 2010 08:00:00 +0000

Everyone from video game console makers such as Nintendo, to satellite TV services such as Bell TV, is making a bet on 3-D, :

“The studios are realizing there’s a golden goose here because you get all these bums in seats that will pay a 30 per cent premium,” says Ali Kazimi, an independent filmmaker and professor in 91��ɫ’s Department of Film in the Faculty of Fine Arts.

. . .

Several Toronto firms are participating in a provincially funded research project called 3D FLIC. The two-year project combines the talents of visual scientists at 91��ɫ with film makers and their suppliers.

One of the driving forces behind the project is Jim Mirkopoulos, vice-president at family-owned Cinespace Film Studios.

“Two years ago we really became interested, before the big wave hit, in how to optimize our space for 3D so we could help spur Ontario’s transformation into a 3D centre of excellence,” Mirkopoulos says.

The company partnered with 91��ɫ and 3D Camera Company, shot a few test projects and then applied to the Ontario Media Development Corp. for a grant. The project received $1.4 million in funding.

“The idea is to build a competency in 3D that surpasses other jurisdictions in North America,” Mirkopoulos says, and generate jobs in the new 3D industry.

Kazimi, the film maker, educator and member of 3D FLIC, says a lot of work lies ahead.

“It’s a new medium. It’s akin to switching from black and white to colour, compounded many times,” he says. “We really don’t know at this stage what are the true possibilities of 3D story telling in film language.”

But it’s also a huge business opportunity for the city, Kazimi says.

Between Mirkopoulous, White and others, Toronto is becoming a hub of 3D activity, he says. “People are coming to Toronto because of them.”

More information about 3D FLIC is available on the and in the . To read the complete Star article, .

Republished courtesy of YFile– 91��ɫ’s daily e-bulletin.

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91��ɫ filmmakers shine in the industry spotlight

fmaquito — Fri, 09 Jul 2010 08:00:00 +0000

91��ɫ filmmakers are making headlines and shining in the industry spotlight. From film festival successes to prestigious awards, these cinematic storytellers have much to share.

CineSiege, 91��ɫ’s annual juried student film festival, is often the harbinger for success at festivals around the world. After, the winner of the CineSiege Best Sound Award in 2009, is the latest good news story. Inspired by Dennis Cooper’s poem "After School, Street Football, Eighth Grade", After is a humorous and dark coming-of-age film that visualizes three teenage boys’ fantasies about an older teenage football player.

Right: A scene from Mark Pariselli's short film After

Directed by Mark Pariselli (BFA Spec. Hons. '09), this short film is one of only two Canadian works shortlisted for the prestigious Iris Prize (the most valuable single prize lesbian, gay, bisexual and transgender [LGBT] short film competition) and has screened at high-profile festivals all over the world, including in the cities of Paris, Athens, Montreal, Seattle and Chicago, and at festivals in Germany and Switzerland.

At the Inside Out Toronto LGBT Film & Video Festival that took place May 20 to 30, Pariselli received an honorable mention for the Best Up-and-Coming Toronto Film or Video Maker ward.

is the feature film debut by director Andres Livov-Macklin (BFA Spec. Hons. '04) and producer Hugh Gibson (BFA Spec. Hons. '04). The aluCine Toronto Latin Media Festival presents the Toronto premiere of this documentary film, screening July 9 to 12, at 7pm nightly at The Royal.

Above: A Place Called Los Pereyra tells the story of a tiny community in the Argentine jungle

It tells the story of how life in a tiny community in the Argentine jungle is unexpectedly changed by a visiting charitable mission. Subtle, sweet, often humorous, but also poignant, A Place Called Los Pereyra examines adolescence, charity and the clash of two worlds.

The two alumni will attend each screening and be available to answer questions after the film concludes.

Another 91��ɫ film duo picked up prizes at Toronto’s Worldwide Short Film Festival June 1 to 6 for their work on , a six-minute dance film shot in a women's change room. The Best Experimental Short Prize was won by director (BFA Spec. Hons. '06) and the Kodak Award for Best Cinematography in a Canadian Short went to cinematographer (BFA Spec. Hons. '07). Choreographer (BFA Spec. Hons. '87) is part of the creative team for Slip, which also includes (BFA Spec. Hons. '06) as producer and several 91��ɫ dance alumni in the cast.

Left: Slip is a six-minute dance film shot in a women's change room and features the choreography of 91��ɫ alumna Yvonne Ng

(BFA Spec. Hons. '96) is the winner of the 2010 Astral Media Mentorship, coordinated by the Foundation for Women in Film & Television-Toronto (WIFT-T). The mentorship is a national competitive program that gives one Canadian female or male producer who is a visible minority, Aboriginal or an individual with a disability the opportunity to develop their marketing strategy and hone their pitch and presentation skills in preparation for the Banff World Television Festival, which took place June 13 to 16. Lau received a festival bursary and a five-day pre-festival mentorship that included meetings with Astral Media and three intensive workshops with industry consultants.

“This mentorship is so important at this time of limited resources within the industry,” said Sadia Zaman, WIFT-T executive director. “During day-to-day work there are few opportunities to simply build presentation skills and to focus on career development. Our partnership with Astral Media will allow Mishann to do just that."

Lau has been writing, directing and producing independent short films for the past 12 years. Her films have screened at the San Francisco International LGBT Film Festival, the International Women’s Film Festival in Cologne, Germany, and the Michigan Womyn’s Music Festival. She was also selected to create shorts for the 1997 On the Fly Festival, the 2004 Toronto Reel Asian International Film Festival and the 2007 Pride Video Launch.

On the faculty front, three professors have had recent festival success.

Visual arts Professor Katherine Knight’s documentary about Newfoundland-based performance artist Colette Urban, , which made its Toronto premiere at the Reel Artists Film Festival (see YFile, Feb. 25), won a special mention at the in Rhodos, Greece – its first international screening.

Film Professors John Greyson and Ali Kazimi’s film Rex Vs. Singh picked up the prize for best Canadian short film at Inside Out. (For more info on this experimental exploration of Vancouver history and human rights, see YFile, Aug. 20, 2008.)

Republished courtesy of YFile– 91��ɫ’s daily e-bulletin.

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3D FLIC launches into orbit at Cinespace Film Studios

fmaquito — Wed, 05 May 2010 08:00:00 +0000

From the works of James Cameron to Werner Herzog, 3D films have become a cinematic trend of epic proportions. On the crest of this wave of stereoscopy, 91��ɫ officially launched the (3D FLIC), a $1.4-million academic-industry partnership to build capacity for stereoscopic 3D (S3D) film production in the Greater Toronto Area and Ontario.

At the April 23 launch at Toronto’s , 3D FLIC researchers Professor from 91��ɫ’s and Professor from the spoke about the critical importance of collaboration to their respective 3D research in film and psychology.

Right: Launch goers watch a 2D to 3D conversion demo at the 3D FLIC launch

“Because the perception of S3D is personal, opinions are strongly held,” Wilcox said. “People assume that how they see is how everyone sees. This is simply false, and testing is the only way to determine the average human’s perception of 3D. Our goal is not only to study the issues with rigour, but also to disseminate our research results widely. 3D FLIC’s mandate is to make our results public, and in doing so highlight the central role that the Ontario film industry is playing in advancing S3D.”

Several 3D FLIC industry partners were on site to give previews and demonstrations of their work. The showcase included the 3D Camera Company’s new Hawkeye S3D camera with a live 3D footage feed; a demo of 2D to 3D conversion by Communications Research Centre Canada in association with Cinespace Film Studios and Creative Post Inc.; a demo reel from Starz Animation Toronto; and a presentation of Side Effects Software Inc.’s procedural 3D animation software Houdini, which was used for special effects in blockbusters like and .

Left: From left, Stan Shapson, vice-president, research & innovation at 91��ɫ; David Choat, vice-president of human resources at the Ontario Centres of Excellence; Laura Albanese, parliamentary assistant to the minister of culture and MPP for 91��ɫ South-Weston; Karen Thorne-Stone, president and CEO of the Ontario Media Development Corporation; and Jim Mirkopoulos, vice-president of operations at Cinespace Film Studios

Visual arts Professor Nell Tenhaaf, associate dean of research in 91��ɫ’s Faculty of Fine Arts and 3D FLIC’s principal investigator, welcomed representatives from government and granting agencies, including Laura Albanese, parliamentary assistant to the minister of culture and MPP for 91��ɫ South-Weston; Karen Thorne-Stone, president and CEO of the Ontario Media Development Corporation; and David Choat, vice-president of human resources for the Ontario Centres of Excellence. Over 100 industry delegates were on hand to learn about 3D FLIC’s unique convergence of academia, industry, art and science. Attendees included longtime S3D industry leaders such as IMAX and RealD, stereographers and filmmakers.

The 3D FLIC research team includes:

91��ɫ’s in the Faculty of Fine Arts and the interdisciplinary Centre for Vision Research
Canadian Film Centre Media Lab
Ontario Centres of Excellence
Computer Animation Studios of Ontario
Cinespace Film Studios
3D Camera Company
Creative post Inc.
Starz Animation Toronto
PS Production Services Ltd.
Side Effects Software Inc.
Saw VII Productions Canada Inc.

For more information, visit the Web site.

By Amy Stewart, publicist, Faculty of Fine Arts.

Republished courtesy of YFile– 91��ɫ’s daily e-bulletin.

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3D FLIC research project officially launches, attracting notice in Hollywood

fmaquito — Tue, 27 Apr 2010 08:00:00 +0000

The 91��ɫ-led celebrated its official launch April 23 at in Toronto. 91��ɫ professors Nell Tenhaaf, from the , and took part in the event's program.

The Hollywood Reporter April 23:

After losing traditional Hollywood film and TV shoots to rival U.S. states like Louisiana and New Mexico, the Ontario provincial government is looking to lift its local production sector by luring 3D flicks and 2D-to-3D conversion work up north.

In the wake of "Avatar," the Ontario Media Development Corp. on Friday unveiled a two-year $1.4 million 3D Film Innovation Consortium (3D FLIC) to expand Toronto's 3D film expertise.

OMDC president and CEO Karen Thorne-Stone said her agency, which markets the province as a film location in Hollywood, is looking to build out Ontario's 3D infrastructure to entice Los Angeles producers with next-level 3D projects to complete.

Jim Mirkopoulos, vp operations at Cinespace Studios, a major Toronto facility, said he is talking to major studios about shooting their movies in the city, and then remaining here to convert 2D content to 3D at partner Creative Post's 3D stereoscopic post facility.
. . .

Nell Tenhaaf, associate dean of research at 91��ɫ, and the 3D FLIC project leader, said little research has been done into how audiences react to misaligned objects in 3D projection, or the illusion of depth, all of which may produce occasional nausea.

"We want to understand how the brain interacts with 3D film so we can make the experience as good as it can possibly get," she said.

Tenhaff added the practical solutions discovered by Ontario academics will be put into locally produced postproduction technologies and 3D film production processes to better attract Hollywood and other foreign producers to the province.

The project was also covered in the Hindustan Times April 25:

Forget , it was just the tip of an ice cube. The technology that James Cameron’s film is credited to have breathed life into has been around in some way or the other since the 1890s, when a 3-D moviemaking process was first patented in Britain. Over the next century came technologies that failed on the cost-benefit scale. What Avatar did was to show the marketing possibilities of 3-D – marking the second coming of the old magic. Much of these must have been in the works for years. What has brought about their releases now?

The spread of digital projection and better camera technology helped. But there’s surely more to the momentum. A few weeks ago, the Delhi-born Ali Kazimi, a professor at the Centre for Film & Theatre in 91��ɫ’s Faculty of Fine Arts, started on a $1.4-million interdisciplinary project to research 3-D cinema. “A project this size cannot be started overnight...but the funding fell in place after the success of Avatar.” Now everyone is playing for the 3-D effect, said Kazimi.

Posted by Elizabeth Monier-Williams, research communications officer, with files courtesy of YFile– 91��ɫ’s daily e-bulletin

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Film professor on the future of 3D cinema

fmaquito — Tue, 30 Mar 2010 08:00:00 +0000

Professor Ali Kazimi in the Faculty of Fine Arts' Department of Film, part of the recently-funded research project, spoke to the Toronto Star March 29 about the future of 3D cinema:

In the movie industry, Avatar has proven to major film studios and producers that the technology has the ability to generate significant profit, said Ali Kazimi, a professor at 91��ɫ’s film studies program.

“One of the things Avatar has done has opened the floodgates for 3-D production to be taken seriously. Given that (filmmaking) is an industry and it is driven by the bottom line, producers and studios have seen the economic potential of 3-D and that’s been a huge impetus for the excitement and surge right across the industry today, from manufacturers to theatrical distributors,” Kazimi said.

. . .

Kazimi said the attraction of 3-D is the “immersive” experience that the audience receives.

“I draw an analogy to sound, where if you listen to music on a mono speaker and then on a good set of stereo speakers and then surround (sound), as you go up that chain, the experience becomes more all-enveloping and immersive. Stereoscopic 3-D cinema is attempting to do the same thing through the visual experience,” Kazimi said.

Kazimi, who is also a filmmaker, said mainstream filmmakers are already embracing the new technology.

But, he noted, storytelling remains the key to great films and 3-D is just another tool for filmmakers.

“Storytelling still remains the fundamental key of the experience. I think people will get very tired of having a dimensional experience very quickly. We experience cinema as a collective storytelling experience and that remains regardless of whether it’s black and white, colour or 3-D; it’s storytelling that we all connect to.”

The complete article is available of .

Posted by Elizabeth Monier-Williams, research communications officer.

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