It should come as no surprise to our audience that industry opinions regarding 3D entertainment are mixed. Despite technological advancements we’ve seen in recent years to gaming, theatrical film exhibition, television sets, production processes and a variety of consumer products — a number of significant questions continue to spark debate: Glasses or glasses-free? Active or passive? Standard feature or gimmick? Strong or slow consumer adoption? However, a number of recent studies agree on one thing — the near future of 3D will see some tremendous growth.

In a report released this week, digital entertainment market researcher In-Stat predicts global 3D TV shipments will be up nearly 500 percent this year, compared with 2010. The report also suggests that all televisions with screen sizes 40 inches and above will soon be 3D-enabled. The In-Stat forecast is joined by another report from NPD Group subsidiary DisplaySearch that suggests 3D TVs will account for approximately one-third of all 120 Hz LCD sets in 2011. DisplaySearch also explained that 3D TV penetration will expand as the 3D feature is added to more basic models in upcoming years. Researcher IHS iSuppli adds that 2012 will be another year of triple-digit growth for 3D TV shipments.

“In a major recalibration effort, television brands are changing strategies this year following lukewarm response to 3D in 2010 when consumers balked at the high price of sets and the lack of 3D content,” explained Riddhi Patel, director for television systems and retail services at IHS. “In 2011, however, brands are marketing 3D not as a must-have technology but as a desirable feature, similar to the approach they have taken with Internet connectivity.”

This week’s In-Stat report offers the following numbers:

• Households with 3D TV sets will eclipse 300 million in 2015.
• In 2011 Europe will boast the most 3D TV unit shipments at just over 7 million.
• By 2015 Asia/Pacific will have the largest share of 3D TV unit shipments at 32 percent.

Additionally, an industry survey recently conducted by crew booking and payroll company Media Services indicates that 3D is becoming a “predominant mode of production” — as nearly half of respondents indicated their businesses will emphasize 3D film and television production in the next five years.

The question regarding consumer adoption may soon be impacted by increased production numbers and lower prices from manufacturers (and if the shipment predictions above prove accurate, it may not matter). As CNET reports, “NPD found that 45 percent of people who won’t buy a 3D TV cite price as the barrier and 42 percent say its the special 3D glasses. But as In-Stat’s study has found, consumers may not have much of a choice. Vendors are continuing to add 3D capability, especially to bigger-screen sets. And if folks want bigger screens, they will soon get 3D capability whether they seek it or not.”

Related Below the Line post: “Study Reveals Shift to 3D Over the Next Five Years” (5/17/11)

Related Advanced Television article: “3D TV shipments up 500% in 2011” (5/6/11)

Related TV Technology post: “RealD, Samsung Partner in 3DTV Display Project” (5/17/11)

Related Engadget post (and videos): “Intel will mass produce 3D transistors for all future CPUs, starting with 22nm Ivy Bridge” (5/4/11)

Related PCMag.com article: “3D Transistors, EUV, and the Future of Chipmaking: Why it Matters” (5/6/11)

Montreal-based D-BOX Technologies — manufacturer of custom-designed seats for film and gaming entertainment — recently announced it will outfit 70 locations (50 in the U.S.) with “MFX” motion-equipped theater seating for screenings this summer. Theater-goers willing to spend an additional $8 can expect an enhanced, immersive experience viewing movies such as Pirates of the Caribbean: On Stranger Tides, Super 8 and Harry Potter and the Deathly Hallows – Part 2 from motion-equipped seats. D-BOX hopes to expand its seating to 200 locations one year from now and up to five times that within the next four years.

The company introduced its technology in 2009 with a motion-coded version of Universal’s Fast & Furious playing in only two theaters. D-BOX equipped additional theaters the end of April with MFX seating for the latest installment in the same series, Fast Five. According to the Wall Street Journal: “Motions range from being pitched forward, backward and side to side, to experiencing a momentary freefall when a character, say, leaps off a cliff. Seat-side controls let squeamish viewers dial down the intensity level of the experience — which on the highest setting can reach up to two times the acceleration caused by gravity.”

D-BOX Motion Code technology uses motion effects programmed for each film (as well as TV series or video games for home seating) so that the resulting motion is synchronized with the onscreen action and sounds. According to D-BOX, Motion Code is available on more than 900 titles and studios have started embedding it on many Blu-ray and theatrical releases, enabling MFX using three types of intelligent movement (subtle pitch, roll and heave) in addition to vibrations.

Although headquartered in Canada, D-BOX has a research-and-development office in Burbank, California.

Check out the Movie Theatre page of the D-BOX site for a location near you featuring MFX-equipped seating.

Live online video platform GabCast.TV launched its alpha version today and is broadcasting free interactive shows.  The site is similar to other live video streaming services (such as Ustream or Justin.tv), but as Mashable reports, “the focus, design and purpose is unique” in that it enables each user to become “a reality star on the next generation of TV.”

The GabCast.TV team is not short of heavy-hitters. It was co-founded by Emmy-winning producer Paul Wagner and former NBC chairman Fred Silverman (additionally, high-profile advisors include former Disney CEO Michael Eisner and former ABC and Yahoo exec Lloyd Braun). Wagner explains that GabCast goes beyond YouTube, Ustream and Justin.tv by providing streaming video that focuses on greater engagement and stronger interactivity.

At its core, GabCast essentially turns video chats into live programs that are “hosted” by individuals or multiple users with an emphasis on social interaction. It features categories or “channels” for like-minded users (such as Dating Fun, Pets, Sports & Fitness, and College Fun). Pre-alpha users leveraged the streaming platform for a variety of content including live music, dating, and comedy shows.

The service can also be used for conferences and other live events such as weddings, birthdays, and parties. GabCast reports that a live classroom feature and mobile apps are in development. According to the press release, “GabCast.TV promises to hit the sweet spot of engagement by marrying social interaction with unique live content and creating the next generation of reality stars.”

Related GabCast.TV press release (including video): “Hollywood Heavyweights Go Social With GabCast.TV” (5/9/11)

In February, ETCentric reported on Palo Alto start-up IntoNow, which had developed an iOS app that identifies and tags live TV shows in realtime, creating something similar to Shazam, but for television rather than radio. Just three months after the social TV app’s official launch, Yahoo announced it had purchased IntoNow. Although the exact transaction numbers were not disclosed, most reports place it in the $13-17 million range.

Here’s how it works: Users press a button on the app interface while viewing a television program and, with the aid of a platform called SoundPrint, the app uses the program’s audio for identification (within 4-12 seconds). The results appear on the iPhone or iPad screen and can be shared via social networking entities such as Facebook or Twitter, or can be added to a Netflix queue. (An Android version is reportedly in development.)

Yahoo is expected to integrate IntoNow’s SoundPrint technology with existing services such as its Connected TV platform — and possibly use it for plans regarding audio watermarks for identifying advertisements and displaying additional information.

According to the Yahoo press release: “The addition of IntoNow will enable Yahoo! to provide enhanced media experiences and video programming, bolstering its social engagement across the Yahoo! network and on all screens. IntoNow users are able to easily engage with friends around the shows they enjoy most. IntoNow helps people discover new shows, discuss favorites with friends and learn more about them, and provides recommendations for what is currently airing based on their interests and those they are connected to. The application is also integrated with Facebook, Twitter, iTunes and Netflix to enable more sharing and information gathering.”

Engadget posted a video demo where the user is watching CNN on a laptop (place-shifted via SlingBox), and uses the IntoNow app on an iPad to identify the TV stream.

Related Engadget post (including Yahoo press release): “Yahoo buys TV companion app developer IntoNow and its database of sounds” (4/25/11)

FlickLaunch.com is a new startup billing itself as the first independent movie distribution platform built on top of Facebook. It was co-founded by Berkley entrepreneurs Craig Tanner and Erik Moore. Currently in beta, the service enables viewers to watch movies on Facebook and share with their friends.

Filmmakers pay a $250 fee to set up a Facebook fan page that makes each film available, either for free to those who click the “Like” button — or for a rental price to generate revenue immediately. For example, a filmmaker can stream the movie to the first 1,000 viewers for free, hoping to generate buzz — and then if the film continues to prove popular via social networking, new viewers will pay a small fee ($1-$5) through PayPal for each 7-day rental.

Films can be viewed on a PC, mobile phone or tablet (the company is also working on Android, iPad and iPhone apps). The filmmakers keep 70 percent of the revenue while FlickLaunch keeps the other 30 percent.

The platform launches with the 720p streaming release of the urban crime thriller “Blues,” written and directed by Brandon Sonnier and distributed by Level 33 Entertainment.

Related Hollywood Reporter article: “Startup FlickLaunch Debuts Movie Distribution Platform” (5/11/11)

Anxious to promote its new Web-based Chrome operating system introduced this week at Google I/O in San Francisco, Google announced its plans to begin selling netbooks based on the Chrome OS starting June 15. The devices, aimed primarily at enterprise customers, will use Web-based applications rather than storing software.

The new “Chromebooks“ will initially take the form of Wi-Fi- and 3G-based laptops from Acer and Samsung that will start at $350 (available from retailers such as Amazon and Best Buy). Verizon will offer 3-year 3G contracts priced at $28/month for up to 100MB of wireless data usage.

Google also announced a new feature to the Chrome Web Store that will enable developers to configure one-touch in-app purchases. Google will reportedly take only 5 percent of the purchase price (comparatively, Apple takes 30 percent).

According to InformationWeek: “The pricing of Google’s subscription plan is modest: For $28 per user per month, businesses will receive Chromebooks, Web-based administration controls, enterprise-level support, a warranty, and hardware replacement upon subscription renewal. Schools and governments have access to the subscription package for $20 per user per month. Access to Google Apps for Business is not included; it will continue to be offered for $50 per user per year.”

Related CNN Money article: “Google makes push for the Enterprise with Chrome” (5/12/11)

Related PC Magazine article: “Hands On: Samsung Series 5 Chromebook” (5/12/11)

Google has been making headlines the last few days as product and service announcements continue to emerge from the Google I/O 2011 conference in San Francisco (live streaming, photos, announcements and a Twitter feed are available on the Google I/O site).

Much of the news is surrounding OS changes, the availability of cloud-based Music Beta, and a potential revitalization of Google TV.

Gizmodo reports that the Android Marketplace may have the greatest impact on Google TV when it launches later this summer: “At first, it’ll just be apps from Google-approved developers to set standards. The most awesome kind of app we’re going to see are multi-screen apps — apps specifically designed to span your Android phone/tablet to the TV. Google’s going to pushing them totally hard as a huge part of what makes Google TV special. Think things like poker games on the big screen, with individual controls on your own phone/tablet. And other crazy ways to control Google TV from your phone from app developers.”

Some of the recent Google announcements include:

• The anticipated Google TV update to Android 3.1 will be available this summer.
• There are new hardware partners for Google TV (for example, Samsung and Vizio are joining Logitech and Sony as hardware vendors).
• Google has added movie rentals to the Android Market, accessible from Android devices and the Internet (similar to YouTube’s new rental service).
• Android@Home framework for home automation is a future platform that will enable interaction with home media equipment, dishwashers, cars, lights, security systems and more via any connected device.
• The next version of Google’s Android operating system, codenamed Ice Cream Sandwich, will merge the phone and tablet versions of the OS.
• The beta version of Google’s cloud music service is now available (and like Amazon’s earlier launch of a similar cloud service, Google is forging ahead without approval of the major music labels).

Check out the posts below for more details…

Related Engadget post: “Google announces Android@Home framework for home automation” (5/10/11)

Related Ars Technica post: “Google announces Android Ice Cream Sandwich will merge phone and tablet OSes” (5/10/11)

Related ZDNet post: “Google TV getting update to Android 3.1, access to Android Market this summer. Will it be enough?” (5/11/11)

Related Gizmodo post and video: “Google Music: Upload and Stream All Your Tunes From the Cloud” (5/10/11)

Related All Things Digital article: “Google Launching Its Cloud Service Tomorrow, Without Big Music’s Approval” (5/9/11)

Related GigaOM post and video: “Google Forces Roku to Take Down Its YouTube Channel” (4/21/11)

Related WSJ article about gathering info from mobile phones: “Apple, Google Take Heat” (5/11/11)

Related Engadget post: “Google TV shows off new Honeycomb UI, plans for Market, SDK; opens up remote app source code” (5/11/11)

Related New York Times article: “Google’s Digital Music Service Falls Short of Ambition” (5/10/11)

The era of digital music distribution and a shift toward reality TV airing on pioneer networks such as MTV has left the traditional model for music videos in limbo. There is no longer a standard approach to production, budgets, distribution or, for that matter, a clearcut means of generating an audience or revenue.

Today’s music videos may need a new name — and perhaps even a new genre to call home. Innovative artists are leveraging a host of Internet-enabled technologies to break barriers regarding what is possible in short-form visual storytelling. One of the more interesting approaches is taking shape in the form of user control with help from interactive technologies sponsored by Google, Intel and others.

In The Wall Street Journal this week, John Jurgensen provides a fascinating snapshot of the last 30 years of music videos and what has led to this change, citing compelling new approaches from directors such as Spike Jonze and Chris Milk. Jurgensen describes several new approaches to what is being called (for the time being, anyway) “interactive films” — including a new Devo video that enables a 360-degree view of various scenes, a director’s chair feature for newcomer Andy Grammer’s video that allows viewers to select scenes, and a video for Swedish pop artist Robyn that copies fans’ tweets and integrates them into a 3D animated collage.

One of the more notable recent examples is The Wilderness Downtown, directed by Chris Milk and set to the Arcade Fire song “We Used to Wait.” Viewers can enter their home addresses, and by using Google’s maps and street visuals, they essentially personalize the experience with “virtual fly-overs” of their childhood homes (for Google, it has become a way of showcasing new functionality of its Chrome browser). Milk has reportedly been working for five months on another secret project funded by Google that puts control of the content in the hands of viewers. It is expected to debut next week.

The article also points out an interesting shift in distribution (and generating ad revenue):

Three out of four major music companies now channel their videos through Vevo, an online video player and distributor launched in late 2009. After years of licensing their videos to sites all over the Web — and seeing measly financial returns — the labels now rely on Vevo to distribute their videos online and sell ads against them. By focusing on slick presentation and sponsored video premieres, the company has pushed ad rates higher. Vevo, whose traffic includes the videos it funnels into sites such as YouTube and Facebook, is the biggest music provider on the Web, attracting 54 million unique viewers last March, up from 37.5 million in the same month last year, according to ComScore Video Metrix.

According to WSJ, the labels are starting to see financial results from the Vevo model, albeit relatively small. For example, a label whose videos accrue 10 million streams via the online player could collect approximately $70,000.

Identifying the next generation of short form video and its audience’s expectations — whether or not in the form of online interactivity — may become vital to new content production and distribution. As consumers continue to adopt tablet PCs and more dynamic media, this may prove to impact more than just music.

Related: Click here to view Chris Milk’s interactive film “The Wilderness Downtown.”

Related: Click here to view another interactive experiment from Milk, “The Johnny Cash Project.”

Apple is planning a cloud-based music locker service that will enable its customers to stream music to multiple devices. The Wall Street Journal reports that what makes the Apple proposal different from Amazon’s recent Cloud Drive rollout is that Apple is seeking paid licenses from the labels for its service (Amazon started its service without gaining such approval).

Although the Apple version has yet to go public, insiders report that it will work differently than the Amazon Cloud Drive and Player, which acts much like an external hard drive. Through deals with the labels, the Apple service will allow for a single master copy of a song to be stored on its servers, that can then be shared with multiple users (the Amazon service requires users to upload each song they want to access remotely).

“The idea is that Apple will let users store songs they’ve purchased from its iTunes store, as well as others songs stored on their hard drives, and listen to them on multiple devices,” reports WSJ.

Recent rumors suggest Apple will charge users an annual subscription fee, possibly in the area of $20.

Related Wall Street Journal article: “Amazon’s Cloud Music Move Isn’t Earth-Shaking” (3/29/11)

Related Wall Street Journal article: “Amazon’s Cloud Service Is A) Legal B) Illegal? C) Probably Here To Stay” (3/29/11)

Related Los Angeles Times article: “Price war! Amazon launches 69-cent MP3 store for top-selling tunes” (4/28/11)

Related TechCrunch article: “Behind the Scenes: Record Label Demands from Amazon” (4/29/11)

Related CNET article: “Expect Apple to charge for music cloud” (4/26/11)

Last week Microsoft announced its Xbox 360 will include subscription movie and TV service Hulu Plus, starting April 29. The subscription cost will be $7.99 per month (with limited advertising). Additionally, Xbox LIVE users will receive a one-week free trial sponsored by Jack Link’s Beef Jerky.

Hulu Plus will also add Kinect support, enabling users to control programs with their voice or via physical gestures. According to the Hulu blog: “With Kinect for Xbox 360, you can simply say ‘Xbox, pause’ or use gestures to rewind, pause and fast forward your way through your favorite shows.”

In related news, Gamasutra reports that a record number of Xbox 360 console sales contributed to Microsoft’s 13 percent year-on-year revenue increase for the first three months of 2011. A new quarterly record for the gaming console was set, as 2.7 million Xbox 360 units were sold (up from 1.5 million for the same period last year).

For complete details, visit the Hulu Plus on Xbox LIVE page.

Watch the video demo on Engadget: “Hulu Plus on Xbox 360 launches tomorrow, all members get a free week thanks to beef jerky” (4/28/11)

Related PC World article: “Making Sense of Streaming Media Options” (4/30/11)

Related Home Media Magazine article: “Six Questions with Microsoft’s Senior Spokesman, Jose Pinero” (4/29/11) Featuring everything from Netflix to ESPN, Microsoft wants Xbox to be the media hub in the living room. Jose Pinero, senior spokesman for Microsoft’s interactive entertainment business, chatted with Home Media Magazine about where live TV fits into the Xbox 360’s future, how the addition of Kinect might be a game-changer in the console wars and whether a Blu-ray Disc drive will ever be included in the Xbox.

Wes McDermott (“the 3D Ninja”) has released version 1.0.2 of his app for creating handheld camera animations in Autodesk Maya 3D software. CameraMan for Maya is an interesting new utility app for the iPhone 4, iPod touch and iPad 2 (currently available for $1.99 on iTunes).

The app uses the Apple devices’ gyroscope hardware as a motion capture device to control X, Y and Z rotations of the camera. It enables users to adjust the focal length with a slider, record animation, and provides Maya timeline playback controls. The 3D Ninja Blog features a helpful 29-minute video tutorial.

Requirements (according to the CameraMan for Maya iTunes page): Compatible with iPhone 4, iPod touch (4th generation), iPad 2 Wi-Fi, and iPad 2 Wi-Fi + 3G. Requires iOS 4.1 or later.

The new G-Slate tablet from LG (sold by T-Mobile) was launched last week as the first tablet in the U.S. using Google’s Honeycomb software (Android 3.0 for tablets) to offer 4G speed and 3D video. With an 8.9-inch screen, the G-Slate offers less viewing area than Apple’s iPad 2 and the Motorola Xoom, but more than the Samsung Galaxy Tab and RIM’s BlackBerry PlayBook.

The greatest challenges for the new device may be how to compete with the highly successful iPad — and how to differentiate itself from the other Android-based devices currently on the market. In his WSJ “All Things Digital” column, Walt Mossberg suggests that the G-Slate aims to be different in three major ways: by offering 4G cellular data speeds, enabling 3D video creation and viewing, and featuring an “in-between” screen size as compared to current offerings.

In his review, Mossberg found the performance to be on par with the Honeycomb Xoom, but overall not as good a choice as the iPad 2 (especially in terms of price, size and weight). And regarding the 3D functionality, he writes, “The 3D feature, which requires the use of 1950s-style colored glasses, seems like a parlor trick to me.”

Mossberg reports that the biggest selling point of the G-Slate is the 4G speed, but adds that the current problem with all Honeycomb devices involves a lack of “tablet-optimized third-party apps.” It’s tough to compete with Apple in this regard, considering it already claims 65,000 tablet apps.

Mossberg’s bottom line: “The G-Slate isn’t as good a tablet as the iPad 2. I’d only recommend it for people who want the higher cellular speeds, or who prefer Android.”

Former Apple engineers Kimon Tsinteris and Mike Matas have created a digital creation tool that might have a dramatic impact on the “frictionless” self-publishing of electronic books. Book apps created with the platform will leverage the sensors, touchscreen gestures, microphone and graphics chip of the iPad and iPhone to create a more interactive experience for electronic reading. The duo’s Push Pop Press is getting an interesting start, with some help from former vice president Al Gore.

According to the Wired Gadget Lab: “Push Pop Press will be a publishing platform for authors, publishers and artists to turn their books into interactive iPad or iPhone apps — no programming skills required.” The app enables users to augment their stories with photos, videos and a compelling variety of interactive features, which could go beyond books to the publishing of magazines and newspapers.

Push Pop Press could become an affordable alternative to the tools featured in Adobe’s Creative Suite, commonly used for creating today’s tablet periodicals. For example, Tsinteris and Matas claim that interactive diagrams, geotagged photos and video content can easily be embedded in a book produced with the tool.

For those who may be interested in seeing the possibilities of Push Pop Press, the app version of Al Gore’s book, Our Choice: A Plan to Solve the Climate Crisis, is available for $4.99 via the iTunes store.

You can also check out Gore’s guided tour of the app on the Wired post or the Push Pop Press site. It’s worth the two minutes to see this in action.

At the 2011 NAB show in Las Vegas, filmmaker James Cameron and 3D production expert and cinematographer Vince Pace discussed their newly-formed company, the Cameron-Pace Group (CPG), aimed at promoting 3D production and streamlining its processes with the FUSION 3D camera and workflow packages.

According to the company’s website: “CPG’s expansion will include proven solutions for 3D productions worldwide including industry-wide 3D advocacy, driving innovations in technology, and delivering products, services and creative tools for filmmakers and broadcasters in ways never addressed or witnessed before.”

Headquartered in Burbank, the company already has 53 employees. “Our goal,” Cameron said at NAB, “is to banish all the perceived and actual barriers to entry that are currently holding back producers, studios and networks from embracing the 3D future.”

Broadcast Engineering reports that upcoming CPG projects include the ESPN X Games 17, the NBA Finals, and feature films such as Pirates of the Caribbean: On Stranger Tides, Transformers: Dark Side of the Moon, The Three Musketeers and Martin Scorsese’s The Invention of Hugo Cabret.

For more information, the Cameron-Pace Group company overview is available in PDF format.

At a Tokyo press event, Sony announced a pair of Android 3.0 tablets — the S1, featuring a 9.4-inch touchscreen display, and the smaller S2, with dual-screen 5.5-inch displays that can can fold like a book. The tablets will connect to Sony’s cloud-computing library of movies and music in addition to Sony PlayStation Android-based games and digital books from Sony’s Reader store.

The S1 media tablet features front- and rear-facing cameras and what Engadget describes as “a curved wrap design that resembles a folded magazine.” The S1 also features a Tegra 2 SoC, touch panel UI, and integrated infrared for use as a remote control for Sony devices. The second tablet, the dual-screen S2 clamshell, features two 1024 x 480 pixel displays, Tegra 2 SoC, and camera. Engadget reports: “Sony takes advantage of the two screens with a custom book-style UI layout for its e-reader app, split keyboard and messaging displays for email, and split display and game controllers for PS One gaming.”

In a video report, IDG reports the S1 and S2 are PlayStation certified, WiFi and 3G/4G compatible, and will support DLNA (enabling users to buy a movie from the online Qriocity store, for example, and stream the content to a TV from the tablet via WiFi).

Sony said the devices will go on sale worldwide by September. The company has yet to announce prices, but according to Engadget: “…sources told us back in February that Sony was considering a $599 MSRP on the S1 while the S2 would likely come in at $699. Still no word on the Windows 7 slider but with the other two leaks official, it’s now only a matter of time.”

Related Huffington Post article: “Sony Shows Off S1, S2 Honeycomb Tablets With PlayStation Integration” (4/26/11)