KARNATAKA STATE OPEN UNIVERSITY

MANASA GANGOTHRI M Y S O R E -570006 DEPARTMENT OF COMMERCE AND MANAGEMENT

Date:

BONAFIDE CERTIFICATE

This is to certify that Smt/Sri Syed Fahad Bin Khalid bearing the register

number: 1 3 2 4 7 1 D M B A 0 4 3 7 has successfully completed the

project work on ―3D MOVIES’’.under the guidance of Sri/Smt Sadaf

Hashmi

The project report is submitted to the Karnataka State Open University

in partial fulfillment of the requirement for the award of Degree,

Master¶s of Business Administration (MBA) during the year 2013-2015

sign sign sign

(Director, CMTE) Dr. /Prof Dr. /Prof

Stamp (Project Guide) External Examiner

UNDERSTANDING AND EVALUATING THE PERCEPTION AND

ATTITUDE OF VIEWERS TOWARDS 3D MOVIES

A PROJECT REPORT

Under the guidance Of

Prof. Sadaf Hashmi

in partial fulfillment o f the requirement for the award of the degree Of

MBA

Sayed Fahad Bin Khalid

(Roll No. 132471DMBA0437)

Management Department

Karnataka State Open University

Manasagangotri, Mysore – 570006

Karnataka

(2015)

Centre For Management & Technical Education

Study Centre @ Smt. MMK College, Bandra West, Mumbai -50

Acknowledgement

I wish to express my gratitude to all those who have helped to make this project a success.

I would like to thank Prof. Sweety Gandhi and Prof. Deepak Gupta without their guidance

and support this project would not have been possible. Also I would like to thank my guide

Prof. Sadaf Hashmi who has provided us with the necessary infrastructure and guidance in

the course of the project. Also I would like to take this opportunity to thank all the teaching

as well as non-teaching staff for their continuous help and support.

Signature of the Student

Name of the student – Syed Fahad Bin Khalid

Roll No – 132471DMBA0437

DECLARATION

I here by declare that the research work embodied in the dissertation

entitled ―Understanding and Evaluating the Perception and Attitude of Viewers towards

3d Movies‖ has been carried out by me under the guidance and supervision of Prof. Sadaf

Hashmi, Visiting Faculty(Finance), CMTE, Mumbai.

I also declare that this dissertation has not been submitted to any university/Institution for the

award of any Degree/Diploma.

Place: Mumbai Syed Fahad Bin Khalid

Date: REG. NO: 132471DMBA0437

EXECUTIVE SUMMARY

Since the introduction of television, much has been done to improve the overall experience of

viewers. Improvements in color, picture quality, sound quality, and increasing involvement

based on larger screen sizes have contributed to a better overall viewing experience. A logical

next step is the introduction of three-dimensional television enabling people to watch their

content in three dimensions. Proponents of 3D-TV have argued that it will bring the viewer a

whole new experience, a fundamental change in the character of the image, not just an

enhancement of quality

Comparisons between television sets are done quite regularly on perceptual and/or technical

aspects to determine where to put future investments. The performance of a 3D television

system is often evaluated using 2D image quality models. Earlier research in this area

defined some dominant perceptual factors affecting 2D image quality, for instance, blur,

brightness, color, blockiness, or noise. Psychophysical scaling experiments are used to

quantify the strengths of these artifacts. People use perceptual rules to combine the measured

strengths into a prediction of the overall image quality. This project investigates whether 2D

image quality models are sufficiently adequate to measure 3D quality because typical

stereoscopic distortions and the depth reproduction are not incorporated in 2D image quality

models. The aim of this project is to understand, measure and eventually, model and predict

the 3D ’Visual Experience’.

TABLE OF CONTENT

Chapter 1 – Introduction ........................................................................................................ 8

1.1 Early patents and tests……………………………………………………………….

1.2 Early systems of stereoscopic filmmaking …………………………………………

1.3 Introduction of Polaroid…………………………………………………………….

1.4 Mainstream resurgence……………………………………………………………..

Chapter 2 – Techniques…………………………………………………………………..

2.1 Producing 3D films…………………………………………………………………

2.2 Live action………………………………………………………………………

2.3 Animation…………………………………………………………………….

2.4 2D to 3D conversion………………………………………………………….

Chapter 3 – Displaying 3D films………………………………………………………...

3.1 Anaglyph…………………………………………………………………………..

3.2 Polarization systems…………………………………………………………….

3.3 Eclipse method………………………………………………………………….

3.4 Interference filter technology…………………………………………………..

3.5 Autostereos copy………………………………………………………………..

Chapter 4– Image Quality……………………………………………………… .

4.1 Image Quality Modeling…………………………………………………….

4.2 3D Image Quality……………………………………………………………..

Chapter 5 – Top 3D Movies in India

5.1 3D Hollywood Movies…………………………………………………………..

5.2 3D Bollywood Movies…………………………………………………………..

Chapter 6 – Research Methodology………………………………………………..

6.1 Need for the Study………………………………………………………

6.2 Research Objectives……………………………………………………

6.3 Sample Size……………………………………………………………

6.4 Tools for Data Collection………………………………………………

Chapter 7 – Data Analysis and Interpretation…………………………

Chapter 8 – Suggestions and Recommendations..............................................................

8.1 Summary of the Analysis……………………………………………..

8.2 Recommendations…………………………………………………..

Chapter 9 – Conclusion…………………………………………………..

Chapter 10 – Bibliography, References and Annexure........................

Chapter 1 – Introduction

A 3D or 3-D (three-dimensional film or S3D (stereoscopic 3D) film is a motion picture that

enhances the illusion of depth perception. Derived from stereoscopic photography, a regular

motion picture camera system is used to record the images as seen from two perspectives

(or computer-generated imagery generates the two perspectives in post-production), and

special projection hardware and/or eyewear are used to provide the illusion of depth when

viewing the film. 3D films are not limited to feature film theatrical releases; television

broadcasts and direct-to-video films have also incorporated similar methods, especially

since 3D television and Blu-ray 3D.

3D films have existed in some form since 1915, but had been largely relegated to a niche in

the motion picture industry because of the costly hardware and processes required to produce

and display a 3D film, and the lack of a standardized format for all segments of the

entertainment business. Nonetheless, 3D films were prominently featured in the 1950s in

American cinema, and later experienced a worldwide resurgence in the 1980s and 1990s

driven by IMAX high-end theaters and Disney themed-venues. 3D films became more and

more successful throughout the 2000s, culminating in the unprecedented success of 3D

presentations of Avatar in December 2009 and January 2010.

1.1 Early patents and tests

The stereoscopic era of motion pictures began in the late 1890s when British film

pioneer William Frieze-Greene filed a patent for a 3D movie process. In his patent, two films

were projected side by side on screen. The viewer looked through a stereoscope to converge

the two images. Because of the obtrusive mechanics behind this method, theatrical use was

not practical. Frederic Eugene Ives patented his stereo camera rig in 1900. The camera had

two lenses coupled together 1 3/4 inches (4.45 centimeters) apart. On June 10, 1915, Edwin

S. Porter and William E. Waddell presented tests to an audience at the Astor Theater in New

York City. In red-green anaglyph, the audience was presented three reels of tests, which

included rural scenes, test shots of Marie Doro, a segment of John Mason playing a number

of passages from Jim the Penman (a film released by Famous Players-Lasky that year, but not

in 3D), Oriental dancers, and a reel of footage of Niagara Falls. However, according

to Adolph Zukor in his 1953 autobiography The Public Is Never Wrong: My 50 Years in the

Motion Picture Industry, nothing was produced in this process after these tests.

1.2 Early systems of stereoscopic filmmaking (pre-1952)

The earliest confirmed 3D film shown to a paying audience was The Power of Love, which

premiered at the Ambassador Hotel Theater in Los Angeles on 27 September 1922. The

camera rig was a product of the film's producer, Harry K. Fairall,

and cinematographer Robert F. Elder. It was projected dual-strip in the red/green anaglyph

format, making it both the earliest known film that utilized dual strip projection and the

earliest known film in which anaglyph glasses were used. Whether Fairall used colored filters

on the projection ports or whether he used tinted prints is unknown. After a preview for

exhibitors and press in New York City, the film dropped out of sight, apparently not booked

by exhibitors, and is now considered lost.

Early in December 1922, William Van Doren Kelley, inventor of the Prizma color system,

cashed in on the growing interest in 3D films started by Fairall's demonstration and shot

footage with a camera system of his own design. Kelley then struck a deal with Samuel

"Roxy" Rothafel to premiere the first in his series of "Plasticon" shorts entitled Movies of the

Future at the Rivoli Theater in New York City. Also in December 1922, Laurens

Hammond (later inventor of the Hammond organ) and William F. Cassidy unveiled

their Teleview system.

Teleview was the earliest alternate-frame sequencing form of film projection. Through the

use of two interlocked projectors, alternating left/right frames were projected one after

another in rapid succession. Synchronized viewers attached to the arm-rests of the seats in the

theater open and closed at the same time, and took advantage of the viewer's persistence of

vision, thereby creating a true stereoscopic image. The only theater known to have installed

this system was the Selwyn Theater in New York. Only one show was ever produced for the

system, groups of shorts and the only Teleview feature The Man from M.A.R.S. (later re-

released as Radio-Mania) on December 27, 1922 in New York City. In 1922, Frederic

Eugene Ives and Jacob Leventhal began releasing their first stereoscopic shorts made over a

three-year period. The first film entitled, Plastigrams, which was distributed nationally

byEducational Pictures in the red/blue anaglyph format.

Ives and Leventhal then went on to produce the following stereoscopic shorts in the

"Stereoscopiks Series" for Pathé Films in 1925: Zowie (April 10), Luna-cy! (May 18), the

Run-Away Taxi (December 17) and Ouch (December 17). On 22 September 1924, Luna-

cy! Was re-released in the DeForest Phonofilm sound-on-film system. The late 1920s to

early 1930s saw little to no interest in stereoscopic pictures, largely due to the Great

Depression. In Paris, Louis Lumiere shot footage with his stereoscopic camera in September

1933. The following March he premiered a remake of his 1895 film L'Arrivée du Train, this

time in anaglyphic 3D, at a meeting of the French Academy of Science. In 1936, Leventhal

and John Norling were hired based on their test footage to film MGM's Audioscopiks series.

The prints were by Technicolor in the red/green anaglyph format, and were narrated by Pete

Smith. The first film, Audioscopiks, premiered January 11, 1936 and The New

Audioscopiks premiered January 15, 1938. Audioscopiks was nominated for the Academy

Award in the category Best Short Subject, Novelty in 1936.

With the success of the two Audioscopiks films, MGM produced one more short in anaglyph

3D, another Pete Smith Specialty called Third Dimensional Murder (1941). Unlike its

predecessors, this short was shot with a studio-built camera rig. Prints were by Technicolor in

red/blue anaglyph. The short is notable for being one of the few live-action appearances of

the Frankenstein Monster as conceived by Jack Pierce for Universal Studios outside of their

company.

While many of these films were printed by color systems, none of them was actually in color,

and the use of the color printing was only to achieve an anaglyph effect.

1.3 Introduction of Polaroid

While attending Harvard University, Edwin H. Land conceived the idea of

reducing glare by polarizing light. He took a leave of absence from Harvard to set up a lab

and by 1929 had invented and patented a polarizing sheet. In 1932, he introduced Polaroid J

Sheet as a commercial product. While his original intention was to create a filter for reducing

glare from car headlights, Land did not underestimate the utility of his newly-

dubbed Polaroid filters in stereoscopic presentations.

In January 1936, Land gave the first demonstration of Polaroid filters in conjunction with 3D

photography at the Waldorf-Astoria Hotel. The reaction was enthusiastic, and he followed it

up with an installation at the New York Museum of Science. It is unknown what film was run

for audiences at this exhibition.

Using Polaroid filters meant an entirely new form of projection, however. Two prints, each

carrying either the right or left eye view, had to be synced up in projection using an

external selsyn motor. Furthermore, polarized light would be largely depolarized by a matte

white screen, and only a silver screen or screen made of other reflective material would

correctly reflect the separate images.

Later that year, the feature, Nozze Vagabonde appeared in Italy, followed in Germany

by Zum Greifen Nah (You Can Nearly Touch It), and again in 1939 with Germany's Sechs

Mädel Rollen Ins Wochenend(Six Girls Drive Into the Weekend). The Italian film was made

with the Gualtierotti camera; the two German productions with the Zeiss camera and the

Vierling shooting system. All of these films were the first exhibited using Polaroid filters.

The Zeiss Company in Germany manufactured glasses on a commercial basis commencing in

1936; they were also independently made around the same time in Germany by E. Käsemann

and by J. Mahler.

In 1939, John Norling shot In Tune with Tomorrow, the first commercial 3D film using

Polaroid in the US. This short premiered at the 1939 New York World's Fair and was created

specifically for the Chrysler Motors Pavilion. In it, a full 1939 Chrysler Plymouth is

magically put together, set to music. Originally in black and white, the film was so popular

that it was re-shot in color for the following year at the fair, under the title New Dimensions

In 1953, it was reissued by RKO as Motor Rhythm.

Another early short that utilized the Polaroid 3D process was 1940's Magic Movies: Thrills

For You produced by the Pennsylvania Railroad Co. for the Golden Gate International

Exposition. Produced by John Norling, it was filmed by Jacob Leventhal using his own rig. It

consisted of shots of various views that could be seen from the Pennsylvania Railroad's

trains.

In the 1940s, World War II prioritized military applications of stereoscopic photography and

it once again went on the back burner in most producers' minds.

1.4 Mainstream resurgence

In 2003, Ghosts of the Abyss by James Cameron was released as the first full-length 3D

IMAX feature filmed with the Reality Camera System. This camera system used the latest

HD video cameras, not film, and was built for Cameron by Vince Pace, to his specifications.

The same camera system was used to film Spy Kids 3-D: Game Over (2003), Aliens of the

Deep IMAX (2005), and The Adventures of Sharkboy and Lavagirl in 3-D (2005).

In 2004, Las Vegas Hilton released Star Trek: The Experience which included two films. One

of the films, Borg Invasion 4-D (Ty Granoroli), was in 3D. In August of the same year, rap

group Insane Clown Posse released their ninth studio album Hell's Pit. One of two versions of

the album contained a DVD featuring a 3D short film for the track "Bowling Balls", shot in

high-definition video. In November 2004, The Polar Express was released as IMAX's first

full-length, animated 3D feature. It was released in 3,584 theaters in 2D, and only 66 IMAX

locations. The return from those few 3D theaters was about 25% of the total. The 3D version

earned about 14 times as much per screen as the 2D version. This pattern continued and

prompted a greatly intensified interest in 3D and 3D presentation of animated films.

In June 2005, the Mann's Chinese 6 theatre in Hollywood became the first commercial movie

theatre to be equipped with the Digital 3D format. Both Singin' in the Rain and The Polar

Express were tested in the Digital 3D format over the course of several months. In November

2005, Walt Disney Studio Entertainment released Chicken Little in digital 3D format.

The Butler's in Love, a short film directed by Anders Laursen and starring Elizabeth

Berkley and Thomas Jane .

was released on June 23, 2008. The film was shot at the

former Industrial Light & Magicstudios using KernerFX's prototype Kernercam stereoscopic

camera rig.

Ben Walters suggests that both filmmakers and film exhibitors regain interest in 3D film.

There is now more 3D exhibition equipment, and more dramatic films being shot in 3D

format. One incentive is that the technology is more mature. Shooting in 3D format is less

limited, and the result is more stable. Another incentive is the fact that while 2D ticket sales

are in an overall state of decline, revenues from 3D tickets continue to grow.

Through the entire history of 3D presentations, techniques to convert existing 2D images for

3D presentation have existed. Few have been effective or survived. The combination of

digital and digitized source material with relatively cost-effective digital post-processing has

spawned a new wave of conversion products. In June 2006, IMAX and Warner

Bros. released Superman Returns including 20 minutes of 3D images converted from the 2D

original digital footage. George Lucas has announced that he will re-release his Star

Wars films in 3D based on a conversion process from the company In-Three. Later on in

2011, it was announced that Lucas was working with the company Prime Focus on this

conversion.

In late 2005, Steven Spielberg told the press he was involved in patenting a 3D cinema

system that does not need glasses, and which is based on plasma screens. A computer splits

each film-frame, and then projects the two split images onto the screen at differing angles, to

be picked up by tiny angled ridges on the screen.

Animated films Open Season, and The Ant Bully, were released in analog 3D in

2006. Monster House and The Nightmare before Christmas were released on XpanD

3D, RealD and Dolby 3D systems in 2006.

On May 19, 2007 Scar3D opened at the Cannes Film Market. It was the first US-produced

3D full-length feature film to be completed in Real D 3D. It has been the #1 film at the box

office in several countries around the world, including Russia where it opened in 3D on 295

screens.

In 2008 3D films included Hannah Montana & Miley Cyrus: Best of Both Worlds

Concert, Journey to the Center of the Earth, and Bolt.

On January 16, 2009, Lionsgate released My Bloody Valentine 3D, the first horror film and

first R-rated film to be projected in Real D 3D.[28]

It was released to 1,033 3D screens, the

most ever for this format, and 1,501 regular screens. Another R-Rated film, The Final

Destination, was released later that year (August 28) to even more screens. It was the first of

its series to be released in HD 3D.

On May 7, 2009 the British Film Institute commissioned a 3D film installation. The

film Radio Mania: An Abandoned Work consists of two screens of stereoscopic 3D film with

3D Ambisonic sound. It stars Kevin Eldon and is by British artists Iain Forsyth and Jane

Pollard.

The first 3D webisode series was Horrorween starting September 1, 2009.

Major 3D films in 2009 included Coraline, Monsters vs. Aliens, Up, X Games 3D: The

Movie, The Final Destination, and Avatar.

Avatar has gone on to be one of the most expensive films of all time, with a budget at $237

million; it is also the highest-grossing film of all time. The main technologies used to exhibit

these films, and many others released around the time and up to the present, are Real D

3D, Dolby 3D, XpanD 3D, MasterImage 3D, and IMAX 3D.

March and April 2010 saw three major 3D releases clustered together, with Alice in

Wonderland hitting US theaters on March 5, 2010, How to Train Your Dragon on March 26,

2010 and Clash of the Titans on April 2, 2010.

On May 13, 2010, China's first IMAX 3D film started shooting. The pre-production of the

first 3D film shot in France, Derrière les murs, began in May 2010, and it will be released in

mid-2011.

On October 1, 2010 Scar3D was the first-ever stereoscopic 3D Video-on-demand film

released through major cable broadcasters for 3D televisions in the United States.

Released in the United States on May 21, 2010, Shrek Forever After by DreamWorks

Animation (Paramount Pictures) used the Real D 3D system, also released in IMAX 3D.

Chapter 2 – Techniques

Stereoscopic motion pictures can be produced through a variety of different methods. Over

the years the popularity of systems being widely employed in movie theaters has waxed and

waned. Thoughanaglyph was sometimes used prior to 1948, during the early "Golden Era" of

3D cinematography of the 1950s the polarization system was used for every single feature

length movie in the United states, and all but one short film. In the 21st

century, polarization 3D systems have continued to dominate the scene, though during the

1960s and 1970s some classic films which were converted to anaglyph for theaters not

equipped for polarization, and were even shown in 3D on television. In the years following

the mid-1980s, some movies were made with short segments in anaglyph 3D. The following

are some of the technical details and methodologies employed in some of the more notable

3D movie systems that have been developed.

2.1 Live action

The standard for shooting live-action films in 3D involves using two cameras mounted so that

their lenses are about as far apart from each other as the average pair of human eyes,

recording two separate images for both the left eye and the right eye. In principle, two normal

2D cameras could be put side-to-side but this is problematic in many ways. The only real

option is to invest in new stereoscopic cameras. Moreover, some cinematographic tricks that

are simple with a 2D camera become impossible when filming in 3D. This means those

otherwise cheap tricks need to be replaced by expensive CGI. In 2008, Journey to the Center

of the Earth became the first live-action feature film to be shot with the earliest Fusion

Camera System released in Digital 3D and was later followed by several others. Avatar

(2009) was shot in a 3D process that is based on how the human eye looks at an image. It was

an improvement to the existing 3D camera system. Many 3D camera rigs still in use simply

pair two cameras side by side, while newer rigs are paired with a beam splitter or both camera

lenses built into one unit. While Digital Cinema cameras are not a requirement for 3D they

are the predominant medium for most of what is photographed. Film options include IMAX

3D and Cine 160.

2.2 Animation

In 2004 The Polar Express was the first stereoscopic 3D computer-animated feature film. In

November 2005, Walt Disney Studio Entertainment released Chicken Little in digital 3D

format, being Disney's first CGI-animated film in 3D. The first 3D feature by DreamWorks

Animation, Monsters vs. Aliens, followed in 2009 and used a new digital rendering process

called InTru3D, which was developed by Intel to create more realistic animated 3D images.

InTru3D is not used to exhibit 3D films in theaters; they are shown in either Real 3D or

IMAX 3D.

2.3 2D to 3D conversion

In the case of 2D CGI animated films that were generated from 3D models, it is possible to

return to the models to generate a 3D version.

For all other 2D films, different techniques must be employed. For example, for the 3D re-

release of the 1993 film The Nightmare before Christmas, Walt Disney Pictures scanned each

original frame and manipulated them to produce left-eye and right-eye versions. Dozens of

films have now been converted from 2D to 3D. There are several approaches used for 2D to

3D conversion, most notably depth-based methods.

Chapter 3 – Displaying 3D films

3.1 Anaglyph

Anaglyph images were the earliest method of presenting theatrical 3D, and the one most

commonly associated with stereoscopy by the public at large, mostly because of non-

theatrical 3D media such as comic books and 3D television broadcasts, where polarization is

not practical. They were made popular because of the ease of their production and exhibition.

The first anaglyph movie was invented in 1915 by Edwin S Porter. Though the earliest

theatrical presentations were done with this system, most 3D movies from the 1950s and

1980s were originally shown polarized.

In an anaglyph, the two images are superimposed in an additive light setting through two

filters, one red and one cyan. In a subtractive light setting, the two images are printed in the

same complementary colors on white paper. Glasses with colored filters in each eye separate

the appropriate images by canceling the filter color out and rendering the complementary

color black.

Anaglyph images are much easier to view than either parallel sighting or crossed

eye stereograms, although the latter types offer bright and accurate color rendering,

particularly in the red component, which is muted, or desaturated with even the best color

anaglyphs. A compensating technique, commonly known as Anachrome, uses a slightly more

transparent cyan filter in the patented glasses associated with the technique. Process

reconfigures the typical anaglyph image to have lessparallax.

An alternative to the usual red and cyan filter system of anaglyph is Color-code 3D, a

patented anaglyph system which was invented in order to present an anaglyph image in

conjunction with the NTSC television standard, in which the red channel is often

compromised. Color-code uses the complementary colors of yellow and dark blue on-screen,

and the colors of the glasses' lenses are amber and dark blue.

The polarization 3D system has been the standard for theatrical presentations since it was

used for Bwana Devil in 1952, though early IMAX presentations were done using the eclipse

system and in the 1960s and 1970s classic 3D movies were sometimes converted to anaglyph

for special presentations. The polarization system has better color fidelity and less ghosting

than the anaglyph system. In the post-'50s era, anaglyph has been used instead of polarization

in feature presentations where only part of the movie is in 3D such as in the 3D segment

of Freddy's Dead: The Final Nightmare and the 3D segments of Spy Kids 3D.

Anaglyph is also used in printed materials and in 3D television broadcasts where polarization

is not practical. 3D polarized televisions and other displays only became available from

several manufacturers in 2008 these generate polarization on the receiving end.

3.2 Polarization systems

To present a stereoscopic motion picture, two images are projected superimposed onto the

same screen through different polarizing filters. The viewer wears low-cost eyeglasses which

also contain a pair of polarizing filters oriented differently (clockwise/counterclockwise with

circular polarization or at 90 degree angles, usually 45 and 135 degrees, with linear

polarization). As each filter passes only that light which is similarly polarized and blocks the

light polarized differently, each eye sees a different image. This is used to produce a three-

dimensional effect by projecting the same scene into both eyes, but depicted from slightly

different perspectives. Since no head tracking is involved, the entire audience can view the

stereoscopic images at the same time. Additionally, since both lenses have the same color,

people with one dominant eye (amblyopic), where one eye is used more, are able to see the

3D effect, previously negated by the separation of the two colors.

Circular polarization has an advantage over linear polarization, in that the viewer does not

need to have their head upright and aligned with the screen for the polarization to work

properly. With linear polarization, turning the glasses sideways causes the filters to go out of

alignment with the screen filters causing the image to fade and for each eye to see the

opposite frame more easily. For circular polarization, the polarizing effect works regardless

of how the viewer's head is aligned with the screen such as tilted sideways, or even upside

down. The left eye will still only see the image intended for it, and vice versa, without fading

or crosstalk.

Polarized stereoscopic pictures have been around since 1936, when Edwin H. Land first

applied it to motion pictures. The so-called "3-D movie craze" in the years 1952 through

1955 was almost entirely offered in theaters using linear polarizing projection and glasses.

Only a minute amount of the total 3D films shown in the period used the anaglyph color

filter method. Linear polarization was likewise used with consumer level stereo projectors.

Polarization was also used during the 3D revival of the 1980s.

In the 2000s, computer animation, competition from DVDs and other media, digital

projection, and the use of sophisticated IMAX 70mm film projectors, have created an

opportunity for a new wave of polarized 3D films.

All types of polarization will result in a darkening of the displayed image and poorer contrast

compared to non-3D images. Light from lamps is normally emitted as a random collection of

polarizations, while a polarization filter only passes a fraction of the light. As a result the

screen image is darker. This darkening can be compensated by increasing the brightness of

the projector light source. If the initial polarization filter is inserted between the lamp and the

image generation element, the light intensity striking the image element is not any higher

than normal without the polarizing filter, and overall image contrast transmitted to the screen

is not affected.

3.3 Eclipse method

With the eclipse method, a shutter blocks light from each appropriate eye when the converse

eye's image is projected on the screen. The projector alternates between left and right images,

and opens and closes the shutters in the glasses or viewer in synchronization with the images

on the screen. This was the basis of the Teleview system which was used briefly in 1922.

A variation on the eclipse method is used in LCD shutter glasses. Glasses containing liquid

crystal that will let light through in synchronization with the images on the cinema, television

or computer screen, using the concept of alternate-frame sequencing. This is the method used

by nVidia, XpanD 3D, and earlier IMAX systems. A drawback of this method is the need for

each person viewing to wear expensive, electronic glasses that must be synchronized with the

display system using a wireless signal or attached wire. The shutter-glasses are heavier than

most polarized glasses, though lighter models are no heavier than some sunglasses or deluxe

polarized glasses. However these systems do not require a silver screen for projected images.

Liquid crystal light valves work by rotating light between two polarizing filters. Due to these

internal polarizer’s, LCD shutter-glasses darken the display image of any LCD, plasma, or

projector image source, which has the result that images appear dimmer and contrast is lower

than for normal non-3D viewing. This is not necessarily a usage problem; for some types of

displays which are already very bright with poor grayish black levels, LCD shutter glasses

may actually improve the image quality.

3.4 Interference filter technology

Dolby 3D uses specific wavelengths of red, green, and blue for the right eye, and different

wavelengths of red, green, and blue for the left eye. Eyeglasses which filter out the very

specific wavelengths allow the wearer to see a 3D image. This technology eliminates the

expensive silver screens required for polarized systems such as Real, which is the most

common 3D display system in theaters. It does, however, require much more expensive

glasses than the polarized systems. It is also known as spectral comb filtering or wavelength

multiplex visualization

The recently introduced Omega 3D/Panavision 3D system also uses this technology, though

with a wider spectrum and more "teeth" to the "comb" (5 for each eye in the

Omega/Panavision system). The use of more spectral bands per eye eliminates the need to

color process the image, required by the Dolby system. Evenly dividing the visible spectrum

between the eyes gives the viewer a more relaxed "feel" as the light energy and color balance

is nearly 50-50. Like the Dolby system, the Omega system can be used with white or silver

screens. But it can be used with either film or digital projectors, unlike the Dolby filters that

are only used on a digital system with a color correcting processor provided by Dolby. The

Omega/Panavision system also claims that their glasses are cheaper to manufacture than

those used by Dolby.

In June 2012 the Omega 3D/Panavision 3D system was discontinued by DVPO Theatrical,

who marketed it on behalf of Panavision, citing "challenging global economic and 3D market

conditions".

3.5 Auto stereoscopy

In this method, glasses are not necessary to see the stereoscopic image. Lenticular

lens and parallax barrier technologies involve imposing two (or more) images on the same

sheet, in narrow, alternating strips, and using a screen that either blocks one of the two

images' strips (in the case of parallax barriers) or uses equally narrow lenses to bend the strips

of image and make it appear to fill the entire image (in the case of lenticular prints). To

produce the stereoscopic effect, the person must be positioned so that one eye sees one of the

two images and the other sees the other.

Both images are projected onto a high-gain, corrugated screen which reflects light at acute

angles. In order to see the stereoscopic image, the viewer must sit within a very narrow angle

that is nearly perpendicular to the screen, limiting the size of the audience. Lenticular was

used for theatrical presentation of numerous shorts in Russia from 1940–1948 and in 1946 for

the feature length film Robinzon Kruzo

Though its use in theatrical presentations has been rather limited, lenticular has been widely

used for a variety of novelty items and has even been used in amateur 3D photography.

Recent use includes the Fujifilm FinePix Real 3D with an autostereoscopic display that was

released in 2009. Other examples for this technology include autostereoscopic LCD

displays on monitors, notebooks, TVs, mobile phones and gaming devices, such as

the Nintendo 3DS.

Chapter 4 – Image Quality

Perceived 3D image quality is one of the criteria to assess the overall performance of new

media such as 3D-TV. However, subjective testing is time-consuming and needs to be

repeated for each new parameter setting. Therefore, quality models are needed to obtain a

better understanding of the relationship between technical system parameters and perceived

3D image quality. For conventional imaging systems, image quality models have been

proposed to predict 2D image quality. Nevertheless, a better understanding is needed of the

relationship between system parameters and perceptual factors contributing to the overall

perceived 3D image quality. The principles of modeling 2D image quality can be used to gain

insight into the relationship between 3D- system parameters and 3D image quality.

4.1 Image Quality Modeling

Several approaches have been proposed to obtain a quantitative measure of image quality for

conventional 2D images or sequences. In this paragraph, some quality models are discussed

that are based on

1) A mathematical function to express the loss of information in a physical signal,

2) The transformations in the peripheral human visual pathways,

3) identifying and quantifying the impairment strengths, and

4) Knowledge of Human visual information processing.

Objective fidelity criterion models use a mathematical function of the original image and a

processed version of it, to express the loss of information in an image. Often used functions

are the root mean square error (RMSE) or the mean-square signal-to-noise ratio (SNR)

(Gonzalez and Woods, 1992) the simple calculations needed to express the loss of image

information have led to a large number of related measures (Eskicioglu and Fisher, 1995).

Objective fidelity criteria are probably satisfactory within certain constraints but are not

always suited as image quality measures. For instance the image quality of a particular scene

processed at several levels with the same processing method can probably be quantified by

these objective fidelity criteria. However, applied across scenes or different types of

distortion their reliability is most questionable. Daly (1993) showed that differently impaired

images with similar RMSE can be of different subjective quality. The lack of taking the

visual system into account is probably one of the serious limitations of the above mentioned

measures. Instrumental image quality measures that include properties of the human visual

system (HVS) are more likely to approximate subjective image quality. HVS based quality

measures model the path an image passes through the human visual system, including the

optics of the eye, the retina, and the primary visual cortex. Several variations of

implementing these stages of the visual system are possible (Ahumada, 1993; Watson, 1987;

Daly, 1993; van den Branden Lambrecht, 1996; Winkler, 1999). A typical HVS measure is

described in detail by Lubin (1993).

A different technique to model image quality is based on identifying the underlying attributes

of image quality and quantifying the perceived strengths of each attribute. For this approach,

descriptions of the subjective attributes, such as noise, blur or blockiness, as well as their

technical characterization is needed (Karunasekera and Kingsbury, 1995; Kayargadde and

Martens, 1996b; Libert and Fenimore, 1999). To relate the attribute strengths to overall image

quality, different combination rules can be used (de Ridder, 1992). The attribute strengths can

be quantified from the reference image, usually the original, and a processed version of it

(Karunasekera and Kingsbury, 1995). At present, much effort is spent on developing single-

ended measures, which quantify the degree of impairment directly from the processed image

and do not require an original image. For example, estimation algorithms based on the

Hermite transform were used to estimate the perceptual strength of blur and noise or

blockiness directly from the processed image (Kayargadde and Martens, 1996a; Meesters,

2002). Another approach is to consider image quality in terms of the adequacy of the image

to enable humans to interact with their environment. In this sense image quality is related to

terms like usefulness and naturalness, expressing the precision of the internal image

representation and its match to the description stored in memory, respectively. To quantify

the image quality attributes usefulness and naturalness; measures of discriminability and

identifiability were used (Janssen and Blommaert, 2000).

4.2 3D Image Quality

No comprehensive 3D visual experience model has been formulated to date, yet it is likely

that a diverse set of image attributes contributes to the overall perceived quality of 3D-TV

images. Some attributes will have a positive contribution to the overall image quality (e.g.,

increased depth sensation, or increased sharpness), while others may have a limiting or

negative effect (e.g., visual discomfort due to exaggerated disparities, or image distortions).

An appropriate 3D visual experience model will account for both positive and negative

factors, allowing for a weighting of the attributes based on perceptual importance, and for

interactions that may occur as a consequence of (potentially asymmetric) binocular

combinations. For example, a 3D distortion like crosstalk becomes more visible with

increasing left-right image separation, a manipulation that also increases perceived depth. In

such a case the perceptual benefit of increased depth can be nullified by the perceptual cost of

increased crosstalk. The interactions between such positive and negative contributions and

their relative weighting deserve further study, in order to arrive at a more complete

understanding of 3D visual experience. The 3D visual experience is a trade off between

positive and negative factors and should therefore contain the attributes image quality, depth

and visual comfort. The added value of depth needs to be incorporated in a 3D visual

experience model, especially when 2D picture quality is used as reference (Schreer et al.,

2005). IJsselsteijn et al. (2000c) already demonstrated the added value of depth for

uncompressed stereoscopic images.

Chapter 5 – Top 3D Movies in India

Hollywood has released a series of amazing 3D movies over the recent past, which has

mesmerized the movie goers all around the world giving them an entirely new and

captivating experience.

5.1 3D Hollywood Movies

1) Avatar (2009)

James Cameron revolutionized 3D cinema with this tree-hugging tale of the planet Pandora,

and horrid old Earth's attempts to bleed her dry. While the story itself might drag slightly

over the film's mammoth running time, Cameron's world is a breathtakingly immersive

triumph of technology. Technology he had a significant hand in developing, lest we forget.

2) Final Destination 5

The motion picture's world premiere was August 4, 2011 at the Fantasia Festival in Montreal,

Canada. It was released in Real D 3D and digital IMAX 3D. In an interview with Shave

Magazine, Nicholas D'Agosto revealed "the cameras we used were the newest hybrid 3D

form. There are still two cameras kind of melded together with a kind of complex, mirrored

frame that allows you to shoot in 3D". Richard Roeper stated in his review "From the opening

credits to the final kill this film displays a great use of 3-D". In a review for Toronto.com,

Linda Barnard has stated "this could be a case where the 3-D-shot movie is worth the extra

few bucks to see". He described Final Destination 5 as "a clean, glossy thriller shot in native

3D (not post-conversion) that maximizes the technology without straining the audience's

credulity or their constitutions." He also stated "Calling anything the 'best 3D horror film' has

the ring of crowning the world's tallest midget, but Quale uses 3D almost shockingly well."

3) Transformers: Dark of the Moon

.

―The film had many positive reviews, from critics and the audience’s alike, for its special

effects and aggressive use of 3-D, leading some to call it the best 3-D experience since

Cameron's Avatar. Neil Schneider of Meant to be seen, a website focused on stereoscopic 3-

D gaming and entertainment, remarked that "while Transformers: Dark of the Moon had the

scrapings of a really good story, this 3-D movie was shot with a 2-D script." On the topic of

3-D, Schneider said "Transformers 3 was a mix of native stereoscopic 3-D camera capturing

and 2-D/3-D conversion (as a 3-D tool), and most was done very well." He added, "At a

minimum, Transformers 3 demonstrates that fast cutting sequences are indeed possible and

practical in stereoscopic 3-D. More than that, it was a comfortable experience and helped

exemplify great use of stereoscopic 3-D with live action and digital characters. That said, I

think they still could have taken it much further."

4) Fast and Furious 7

Fast 7 oftenly stylized as Fast & Furious 7 is a 2015 American action film directed by James

Wan and written by Chris Morgan. It is the seventh instalment in the Fast and The Furious

Franchise. The film stars Vin Diesel, Paul Walker, Dwayne Johnson, Michelle Rodriguez,

Tyrese Gipson, Chris Bridges, Jordana Brewster, Kurt Russel and Jason Statham.

5) Titanic

A 2012 re-release, also known as Titanic 3D, was created by re-mastering the original to 4K

resolution and post-converting to stereoscopic 3D format. The Titanic 3D version took 60

weeks and $18 million to produce, including the 4K restoration. Rolling Stone film critic

Peter Travers rated the reissue 3.5 stars out of 4 explaining he found it "pretty damn

dazzling". He said, "The 3D intensifies Titanic. You are there. Caught up like never before in

an intimate epic that earns its place in the movie time capsule".

6) Avengers: Age of Ultron

Avengers: age of ultron is a 2015 American superhero film based on the marvel comics

superhero team- The Avengers, produced by Marvel Studios and distributed by Walt Disney

Studios motion Pictures. It is the sequel of 2012 The Avengers and the 11th

installment in the

marvels cinematic universe (MCU). The film was written and directed by Josh Whedon.

5.2 3D Bollywood Movies

Hollywood-made 3D films do roaring business, and now Hindi films too have taken the

plunge. Though there are not too many success stories yet, Bollywood has lined up a slew of

releases in the format.

Remember the film Chhota Chetan and with it India first experienced the thrill of 3D cinema.

Subsequently the fad has come and gone — sometimes creating a buzz and sometimes not.

But the recent trend of 3D films still in its nascent stage is giving filmmakers reason to strike

gold at the box-office. Two years ago James Cameron's Avatar created storm at the ticket

window in India and more recently Vikram Bhatt's 3D horror film Haunted also became a

huge hit. Peter Jackson and Steven Spielberg's upcoming film,

Even Bollywood filmmakers are also gearing up to join the 3D race. Vikram Bhatt will make

Raaz-3 and Dangerous Ishq, Shirish Kunder's Joker, Ram Gopal Varma's untitled next with

Kangana Ranaut, Shekhar Kapoor's Paani in 3D. SRK's RA.One, though not shot in 3D is

also in talks to be converted to the 3D format when it releases. Says Nandu Ahuja, senior vice

president of the company distributing the film, "The BO collections for all the 3D movies

released in the recent past are so phenomenal that we can't ignore the possibility of releasing

RA.One in 3D. Agreed India is not equipped with enough 3D screens, but till Diwali I am

sure more such screens will be added to the list. There are many digital players in the market

and releasing the film in 3D means more collections."

Filmmaker Vikram Bhatt feels that 3D is quite a challenge and had mentioned in an earlier

interview, ―Haunted 3D does not play on the gore aspects of a horror film. I wanted to go

beyond the dead body jumping out of a morgue on a foggy night cliché. So making it a

thrilling film — which kept the viewers on the edge — on 3D was my main challenge."

Says trade analyst Komal Nahta, "Even if you have 30-40 odd 3D cinema screens in India, it

should mean good business for the filmmakers. But the filmmaker should be sure of an

additional experience for the viewer with 3D format. A lot of work needs to be done to help

the audience retain their excitement for the format. Films should only be 3D if the content is

3D-worthy; otherwise the effort will look forced. But nobody can wish it away."

It costs roughly ` 10 lakh to convert an existing 2D screen to a 3D, while building a separate

3D screen altogether can cost as much as ` 35 lakh, depending on the technology. City

multiplex owners feel that investing in 3D equipped screens is a must. Says multiplex owner

Ashok Purohit, "The SFX and technology required for the movie watching experience is not

easy to get in India. Having said that, 3D films should be of shorter duration and my next

plan of action is to install 3D screens as most Hollywood movies are released in 3D format

these days." Agrees Ashish Saxena, CEO of a popular chain of multiplexes across India,

"Earlier films were converted from 2D to 3D but now with demand growing Hindi films are

being shot in 3D. Also the technical quality of films has improved and with better content, I

don't see any reason why India can't get more such screens."

Filmmakers are excited about the idea too. As filmmaker Karan Johar says, "I am so excited

that the 3D technology is now available to filmmakers like me. It will literally add a new

dimension to our story telling and creative expression."

1) Ra. One

Shah Rukh Khan's ambitious project will also be in 3D format. The film also stars Kareena

Kapoor and Arjun Rampal apart from SRK himself. The film has been going through some

extensive post-production work which also includes the release of Ra. One - The Game.

2) Don 2

'Don 2: The Chase Continues' is the sequel to the highly successful film 'Don: The

Chase Begins'. The sequel, also starring Shah Rukh Khan and Priynka Chopra was

scheduled to have a normal release but director Farhan Akhtar apparently had a

change of mind and decided to convert the film to 3D format.

3) Raaz 3

Vikram Bhatt returns with yet another 3D film which is none other than 'Raaz'

franchise. 'Raaz 3' marks the return of Bipasha Basu and Vikram Bhatt to the

franchise after they both worked in 'Raaz'. 'Raaz 2' was directed by Mohit Suri and

starred Kangana Ranaut, Emraan Hashmi and Adhyayan Suman in lead roles. The

third installment stars Bipasha Basu, Emraan Hashmi

4) Haunted

Haunted – 3D is a 2011 Indian horror film directed by Vikram Bhatt and starring Mahakshay

Chakraborty, Twinkle Bajpai, Achint Kaur, Sagar Saikia and Arif Zakaria. The film is India’s

first stereoscopic 3D horror film. The promos and first look of the film were released on 7

February 2011. The film was released on 6 May 2011 to mixed reviews but became a surprise

hit at the box office.

5) ABCD-2

ABCD-2 is a 2015 Indian 3D dance film, directed by Remo De’ssouza and produced by

Siddharth Roy Kapoor and Walt Disney Picture. The film stars Varun Dhavan, Shraddha

Kapoor and Prabhu Deva. It is a sequel of 2013 film-ABCD: Anybody can Dance. ABCD-2

released on 19th

june, 2015.

Chapter 6 – Research Methodology

6.1 Need for the Study

3D or 3-D is to the entertainment what digital is to photography, video and film. The truth is

that 3D is going to revolutionize everything visual. 3D movies have the ability to make us

believe more. It’s more real. 3D done good is even better than reality.

Our eyes have a fixed focal length. Cameras can have thousands of different focal lengths!

3D is new and is not perfect yet. It has a long way to go. The idea existed almost as long as

photography existed but the latest digital advances made it only recently possible to make

complete movies easily. 3D movies are fun.

From sci-fi to sports, documentaries to kids' flicks, 3D is the next big thing for the world of

home theater. HDTV may make your image look brilliant, but only 3D promises explosions

that make you flinch and landscapes that seem to be rolling out of your TV.

6.2 Research Objectives

1. To understand the 3D market in India.

2. To understand the background of 3D movies.

3. To understand the functionality and making of 3D movies.

4. To do a comparative study on 3D movies.

6.3 Sample Size

Sample size: The sample size will be of 150 respondents. It will include both Male and

Female respondents.

Sample frame: The population would be segmented on the basis on Occupation & Gender.

The target sample would be from the age group of 15 to 35 and would include both the

genders.

Education: Respondents should be literate with a minimum of 10th

pass qualification to be

applicable for the questionnaire

Occupation: Occupation is not a restriction for this project as it considers working, non

working, student, housewives etc.

Gender: According to the 2011 Census of India, the population of Mumbai is 12,479,608

Based on the sex ratio of Mumbai, there are 838 females per 1000 males

In a population of 1838 people there are 1000 males, therefore for a sample of 150 there

would be 81 males (1000*150)/1838

Therefore for the research to be undertaken, 81 males and 69 females would be interviewed

within the city of Mumbai

Sampling Method: The type of sampling undertaken shall be Simple Random Sampling

6.4 Tools for Data Collection

Questionnaires will be used to collect the data. It will comprise of Close ended questions.

Primary data- Structured questionnaire

Secondary data- Internet, previous research, magazines

6.5 Sampling Procedure

The respondents were requested to fill the questionnaire in an unbiased manner. Any doubts

they had were clarified so as to get the right response from them. After the data collection

process was completed, the data was analyzed using the statistical software - SPSS v.19.

Various statistical tools like Frequencies, Weighted Average and Anova analysis were used

in order to get important insights.

Chapter 7 – Data Analysis and Interpretation

For primary data collection a structured questionnaire was made which was filled by

respondents of various age groups and gender across the city of Mumbai. Once the data

collection was completed, analysis was carried out using SPSS software for analyzing the

data. Data analysis tools like frequencies, weighted average and anova analysis was used to

get the output of the data.

Frequency

The above bar graph specifies that there are 115 respondents from the age group of 18 to 30,

27 from age group of 31 to 40 and 8 from the age group of 41 to 45.

The above bar graph specifies that from the 150 respondents 109 were male and 41 were

female.

The above bar graph specifies that from 150 respondents 45 were students, 64 were

employees, 22 were self employee and 19 were others.

The above bar graph specifies that from 150 respondents 108 people had experienced a 3D

movie and 42 had not experienced.

The above bar graph specifies the income level of the respondent from which 66 has income

level Less than 2.5 lakhs per annum, 48 has income level 2.5 lakhs to 4.0 lakhs per annum, 21

are from 4.0 lakhs to 7.0 lakhs per annum, 10 has income level 7.0 lakhs to 10.0 lakhs per

annum and 5 has income level Above 10.0 lakhs per annum.

The above bar graph specifies the perception of price of 3D movie ticket from which 42

thinks it’s somewhat expensive, 35 thinks expensive 15 thinks very expensive, 11 thinks not

at all expensive and 5 thinks too expensive.

The above bar graph specifies how much the viewers willing to pay for a 3D movie ticket

from 150 respondent 39 willing to pay from Rs. 50 – Rs. 100, 30 willing to Rs. 100 – Rs.

150, 15 willing to from Rs. 150 – Rs. 200, 13 willing to Rs. 200 – Rs. 250, 5 willing to Rs.

250 – Rs. 300 and 5 willing to More than Rs. 300.

The above bar graph specifies the most liked genre viewers like to see in 3D, 44 respondent

like to see horror, 33 respondent like to see science fiction, 21 respondent like to see action, 6

respondent like to see comedy, 2 respondent like to see romantic

The above bar graph specifies that with whom they prefer to watch 3D movie. From 150

respondent 67 prefer to watch 3D movie with their friends, 19 prefer to watch with family, 12

prefer to watch with colleagues and 9 prefer to watch with relatives.

ANOVA

Ho: there are no significant differences in parameters which help to select place

of purchase

Ha: there are significant differences in parameters which help to select place of

purchase

Ratings for parameters

Sum of Squares df Mean Square F Sig.

Between Groups 146.496 5 29.299 23.887 .000

Within Groups 301.738 246 1.227

Total 448.234 251

Descriptives

Ratings for parameters

N Mean

Std.

Deviation

Std.

Error

95% Confidence Interval for

Mean

Minimu

m

Maximu

m

Lower

Bound

Upper

Bound

Availability problems 42 3.29 1.195 .184 2.91 3.66 1 5

Bad word of mouth 42 3.00 1.082 .167 2.66 3.34 1 5

Too expensive 42 3.95 1.035 .160 3.63 4.27 2 5

Eyewar problems 42 2.64 1.394 .215 2.21 3.08 1 5

Less deffrences

between 2D & 3D

42 1.81 .862 .133 1.54 2.08 1 4

Not aware 42 1.86 1.002 .155 1.54 2.17 1 4

Total 252 2.76 1.336 .084 2.59 2.92 1 5

Homogeneous Subsets

Tukey HSDa

Parameters N

Subset for alpha = 0.05

1 2 3

Less deffrences between 2D &

3D

42 1.81

Not aware 42 1.86

Eyewar problems 42 2.64

Bad word of mouth 42 3.00

Availability problems 42 3.29 3.29

Too expensive 42 3.95

Sig. 1.000 .087 .068

Means for groups in homogeneous subsets are displayed.

Since the p value i.e. 0.000 is less than 0.05, we reject Ho. This means there are significant

differences in parameters which help to decide place of purchase. It is also seen from the

above table that too expensive and availability problems are the top most factors according to

the respondents for not watching a 3D movie. Less difference between 2D & 3D is the least

preferred factor for not watching a 3D movie.

Crosstab

Crosstab

Count

Age Group of the Respondent

Total 18 to 30 31 to 40 41 to 45

Have you ever experienced

a 3D movie?

Yes 95 11 2 108

No 20 16 6 42

Total 115 27 8 150

Chi-Square Tests

Value df

Asymp. Sig. (2-

sided)

Pearson Chi-Square 28.273a 2 .000

Likelihood Ratio 26.121 2 .000

Linear-by-Linear Association 26.891 1 .000

N of Valid Cases 150

a. 1 cells (16.7%) have expected count less than 5. The minimum

expected count is 2.24.

The above table specifies that from 150 respondents 95 from the age group of 18 to 30 have

watched a 3D movie, 11 from the age group of 31 to 40 had watched and 2 from the age

group of 41 to 45 had watched a 3D movie.

From 150 respondents 20 from the age group of 18 to 30, 16 from the age group of 31 to 40

and 6 from the age group of 41 to 45 had not watched a 3D movie.

Crosstab

Count

Gender of the Respondent

Total Male Female

Have you ever experienced

a 3D movie?

Yes 79 29 108

No 30 12 42

Total 109 41 150

Chi-Square Tests

Value df

Asymp. Sig. (2-

sided)

Exact Sig. (2-

sided)

Exact Sig. (1-

sided)

Pearson Chi-Square .045a 1 .832

Continuity Correction .000 1 .993

Likelihood Ratio .045 1 .832

Fisher's Exact Test .840 .491

Linear-by-Linear Association .045 1 .833

N of Valid Cases 150

a. 0 cells (.0%) have expected count less than 5. The minimum expected count is 11.48.

b. Computed only for a 2x2 table

The above table specifies that from 150 respondents 108 had watched a 3D movie and from

which 79 were male and 29 were female

From 42 who had not watched movie 30 were male and 12 were female.

T test

One-Sample Statistics

N Mean Std. Deviation Std. Error Mean

Give your level of agreement for

the following statements with

respect to preference of viewing

of 3D movies. - I like the

experience of watching 3D

movies better than 2D movies

107 3.83 1.050 .102

Give your level of agreement for

the following statements with

respect to preference of viewing

of 3D movies. - Sound effect is

much more clear

107 3.79 .929 .090

Give your level of agreement for

the following statements with

respect to preference of viewing

of 3D movies. - I would

recommend others to watch 3D

movies

106 3.77 .854 .083

Give your level of agreement for

the following statements with

respect to benefits of 3D

movies. - It feels good to watch

107 3.90 .961 .093

Give your level of agreement for

the following statements with

respect to benefits of 3D

movies. - The picture quality is

much clearer and defined

107 3.95 .946 .091

Give your level of agreement for

the following statements with

respect to drawback of 3D

movies. - Is it difficult for the

eyes to adjust back to normal

after watching 3D movies

107 2.68 .977 .094

Give your level of agreement for

the following statements with

respect to preference of viewing

of 3D movies. - I enjoy watching

3D movies more than 2D

movies

107 3.76 1.054 .102

Give your level of agreement for

the following statements with

respect to benefits of 3D

movies. - It gives a richer

viewing experience

107 3.97 .976 .094

Give your level of agreement for

the following statements with

respect to benefits of 3D

movies. - It helps to understand

the subject much more properly

107 3.65 .953 .092

Give your level of agreement for

the following statements with

respect to benefits of 3D

movies. - 3D is more immersive

107 3.56 1.057 .102

Give your level of agreement for

the following statements with

respect to drawback of 3D

movies. - It is irritating to watch

a movie wearing a 3D glass

107 3.65 1.134 .110

Give your level of agreement for

the following statements with

respect to drawback of 3D

movies. - Viewing movie in 3D

causes headache

107 3.03 2.385 .231

Give your level of agreement for

the following statements with

respect to drawback of 3D

movies. - They cost of tickets

for 3D are more expensive than

2D movies

107 3.93 .988 .095

One-Sample Test

Test Value = 4

t df Sig. (2-tailed)

Mean

Difference

95% Confidence Interval of

the Difference

Lower Upper

Give your level of

agreement for the

following statements with

respect to preference of

viewing of 3D movies. - I

like the experience of

watching 3D movies

better than 2D movies

-1.657 106 .101 -.168 -.37 .03

Give your level of

agreement for the

following statements with

respect to preference of

viewing of 3D movies. -

Sound effect is much

more clear

-2.289 106 .024 -.206 -.38 -.03

Give your level of

agreement for the

following statements with

respect to preference of

viewing of 3D movies. - I

would recommend

others to watch 3D

movies

-2.730 105 .007 -.226 -.39 -.06

Give your level of

agreement for the

following statements with

respect to benefits of 3D

movies. - It feels good to

watch

-1.107 106 .271 -.103 -.29 .08

Give your level of

agreement for the

following statements with

respect to benefits of 3D

movies. - The picture

quality is much clearer

and defined

-.511 106 .610 -.047 -.23 .13

Give your level of

agreement for the

following statements with

respect to drawback of

3D movies. - Is it difficult

for the eyes to adjust

back to normal after

watching 3D movies

-13.951 106 .000 -1.318 -1.51 -1.13

Give your level of

agreement for the

following statements with

respect to preference of

viewing of 3D movies. - I

enjoy watching 3D

movies more than 2D

movies

-2.385 106 .019 -.243 -.44 -.04

Give your level of

agreement for the

following statements with

respect to benefits of 3D

movies. - It gives a richer

viewing experience

-.297 106 .767 -.028 -.22 .16

Give your level of

agreement for the

following statements with

respect to benefits of 3D

movies. - It helps to

understand the subject

much more properly

-3.755 106 .000 -.346 -.53 -.16

Give your level of

agreement for the

following statements with

respect to benefits of 3D

movies. - 3D is more

immersive

-4.300 106 .000 -.439 -.64 -.24

Give your level of

agreement for the

following statements with

respect to drawback of

3D movies. - It is

irritating to watch a

movie wearing a 3D

glass

-3.155 106 .002 -.346 -.56 -.13

Give your level of

agreement for the

following statements with

respect to drawback of

3D movies. - Viewing

movie in 3D causes

headache

-4.216 106 .000 -.972 -1.43 -.51

Give your level of

agreement for the

following statements with

respect to drawback of

3D movies. - They cost

of tickets for 3D are

more expensive than 2D

movies

-.783 106 .435 -.075 -.26 .11

Chapter 8 – Suggestions and Recommendations

8.1 Summary of the Analysis

From 150 respondents 108 people had experienced a 3D movie and 42 had not

experienced.

The perception of price of 3D movie ticket from which 42 thinks it’s somewhat

expensive,

35 thinks expensive 15 thinks very expensive, 11 thinks not at all expensive and 5

thinks too expensive.

From 150 respondent 39 willing to pay from Rs. 50 – Rs. 100, 30 willing to Rs. 100 –

Rs. 150, 15 willing to from Rs. 150 – Rs. 200, 13 willing to Rs. 200 – Rs. 250, 5

willing to Rs. 250 – Rs. 300 and 5 willing to More than Rs. 300.

The most liked genre viewers like to see in 3D is horror, then science fiction, and the

least is romantic.

Most of the people prefer to watch 3D movie with their friends.

Too expensive and availability problems are the top most factors according to the

respondents for not watching a 3D movie.

8.2 Recommendations

Most of the respondent has problem watching 3D movies wearing a 3D glass.

Some respondent think that Indian film industry should adopt the realD 3D

technology rather than converting 2D into 3D.

Most respondent think that 3D movie should be watched without wearing a 3D glass

will give a good experience.

Some respondent want that the ticket should be same as the 2d ticket as they feel no

difference.

Most thinks that there are hardly any difference between 2D and 3D.

Chapter 9 – Conclusion

Digital cinema has turned into a fast-moving train, impossible to stop and largely

driven by the box office performance of 3D movies. 3D films are expected to deliver

viewing experiences never seen on big screens. For movie buffs, it’s a treat. For

theater operators, it’s an opportunity.

There is lots of area of improvement in 3D for example in 3D glass which can

improve the viewing experience Film industry should adopt the realD 3D technology

rather than converting 2D into 3D.

Chapter 10 – Bibliography, References and Annexure

Annexure

This questionnaire is purely for research purpose and the responses will be kept strictly

confidential.

Name: ……………………………………………………………….

Email: ………………………………………………………………

Age Group: 18 to 30 31 to 40 41 to 45

Gender: Male Female

Occupation: Student Employee Self - Employed Other

Income level

Less than 2.5 lakhs per annum 2.5 lakhs to 4.0 lakhs per annum

4.0 lakhs to 7.0 lakhs per annum 7.0 lakhs to 10.0 lakhs per annum

Above 10.0 lakhs per annum

1 Have you ever experienced a 3D movie? (If 'Yes' please proceed from Q3

onwards, if 'No' please answer Q2)

Yes

No

2 Rate the following reasons for not watching a 3D movie? On the scale of 1 to 5 where

1 the least and 5 the highest.

Parameter 1 2 3 4 5

Availability problems

Bad word of mouth

Too Expensive

Eyewear problems

Less dereference between

2D & 3D

Not aware

3 What is your perception about the price of 3D movies tickets? Tick any 1 of the

following options.

Parameter Tick

Too expensive

Very expensive

Expensive

Somewhat expensive

Not at all expensive

4 How much you are willing to pay for a 3D movie ticket?

Rs 50 – Rs 100

Rs 100 – Rs 150

Rs 150 – Rs 200

Rs 200 – Rs 250

Rs 250 – Rs 300

More than Rs 300

5 Give your level of agreement for the following statements with respect to preference

of viewing of 3D movies.

Statement

Strongly

Disagree

Disagree Neither

Agree

nor

disagree

Agree Strongly

Agree

I like the experience of

watching 3D movies better

than 2D movies

I enjoy watching 3D movies

more than 2D movies

Sound effect is much more

clear

I would recommend others to

watch 3D movies

6 Give your level of agreement for the following statements with respect to benefits of

3D movies.

Statement

Strongly

agree

Agree Neither

Agree nor

disagree

Disagree Strongly

disagree

It gives a richer viewing

experience

It helps to understand the

subject much more properly

It feels good to watch

The picture quality is much

clearer and defined

3D is more immersive

7 Give your level of agreement for the following statements with respect to drawback

of 3D movies.

Statement

Strongly

agree

Agree Neither

Agree nor

disagree

Disagree Strongly

disagree

They cost of tickets for 3D

are more expensive than 2D

movies

Viewing movie in 3D

causes headache

It is irritating to watch a

movie wearing a 3D glass

Is it difficult for the eyes to

adjust back to normal after

watching 3D movies

8 What genres of movies would you most like to see in 3D? (you can tick only one)

Horror

Comedy

Action

Science fiction

Romantic

9 With whom would you prefer to watch a 3D movie?

Family

Friends

Relatives

Colleagues

10 Are you happy with the current 3D technology or do you like to see any changes?

Bibliography

http://www.wikipedia.org/

http://alexandria.tue.nl/extra2/200610884

www.timesofindia.indiatimes.com

http://3defence.blogspot.in/

http://www.brandwatch.com/wp-content/uploads/2012/01/Brandwatch-Example-Report-3D-

Films.pdf

Marketing Management – Philip Kotler (Reference Book)