3D Innovation Day

3d innovaiton day Tuesday, September 4th, Hall 10, 10.00 – 19.00 hrs

Curated by the 3D Innovation Center Berlin in association with the Medienboard Berlin/Brandenburg

In our digital age stereoscopic 3D has undisputedly become one of the fastest growing segments of the media industry. The question of whether and how the third dimension will make its breakthrough can long be considered as settled. The crucial question now is in which market segment stereoscopic representation will now make a triumphal entry. For the very first time the 3D Innovation Day at the International Media Convention presented by the MEDIENWOCHE@IFA will be showcasing 3D trends of particular interest and current market developments from a broad range of sectors. The 3D Innovation Day offers an ideal opportunity to discuss current trends with leading industry specialists, to learn about the latest developments in 3D technology segments and to evaluate their potential impact on the range of production and design options open for creative media.

3D Innovation Day - A summary

Knowledge Transfer and Growth - The 3D Partner Country China

The knowledge about the Chinese 3D Market is yet quite small. That instance changed at the focus China at the 3D Innovation Day at the International Media Convention.

First lesson learned: Even leisure time has to be filled with something – preferentially culture. That is the reason why entertainment is part of the People’s Republic’s 5-year plan. 3D is engine as well as a guarantee for success. In the first half of 2012, 40 percent of all movies in Chinese Theaters were in 3D. That is a growth of 42 percent! “3D in Cina is enjoying a great success”, underlined the film producer of the first Chinese 3D music film Qiang Bai. 3D also is very much interesting because of its capability to decrease illegal product piracy: Exciting visual effects and the third dimension gets people to still go to movie theaters even though the DVD is available for sale right in front of the theater.

Still, the problem is the content. "Sushi on a plate is boring, even in 3D”. To use the potential knowledge transfer is the key, for example through the import of Hollywood’s production standards: “Avatar was just the beginning and kicked of a new culture in China” says Chuck Comisky, 3D Visual Effects Supervisor of the successful blockbuster. One main goal is to set new 3D standards in China. Even James Cameron is interested in the Chinese market, because of the given equipment and funding. We don’t have to reinvent the wheel, we just have to use the best technology and the existing knowledge!

To use the lucky bag of new technologies - 3D Film in Germany
At the moment Germany can count 1.586 3D-screens. Therefore an adequate infrastructure for the distribution of 3D movies is given. Despite all critics of 3D in movie theaters and their claim the 3D trend is decreasing Dr. Frank Völkert’s figures showed us different. “3D in cinemas is like the Golf 7 for Volkswagen” he concludes and put even more emphasize on the fact that 3D needs to be seen as a sales engine for the German cinema industry.

One of those accelerators presented successful director Detlev Buck with his new project “Measuring the World/ Die Vermessung der Welt”. To make a journey to the past a special experience for the audience he used an additional level of design - 3D. Emotions are still decisive though. With a making of called “Measuring the third dimension”, Buck presented an entertaining step by step explanation how 3D works.

Rather low budget was the 3D debut of director Thorsten Klein and producer Alex Weimer of the production company MovieBrats. It was highly beneficial to have the technical partners fixed 6 months before they started shooting. The young team used 3D in order to intensify the physical experience while watching the movie.

Erwin M. Schmidt, Neue Road Movies and Wolf Bosse, ARRI rounded off the panel by stating “We are moving a white map that is well researched technically, but completely new territory creatively… This lucky bag of new developments” has to be used now.

"Much of the atmosphere came from 3D!" - 3D in the Music Industry
3D plays a huge role way beyond film and TV – the music industry is just one example. British director Julian Napier showed scenes of his productions “Carmen” and “Madame Butterfly” that were recorded at the Royal Opera House live in 3D. Julian explained „We want to have a cinematic feeling… and much of the atmosphere came from 3D! “ The project was financed exclusively by RealD.

With “It’s a real family affair” Martin and Giorgio Koppehele started their keynote on LICHTMOND. Their father, an engineer, the mother, a painter – The interest in the combination of art and technology is not quite surprising. “Hardware is the body, software the soul”. One year ago the Koppeheles met Dr. Ralf Schäfer at IFA and the idea for a co-operation was born. Our guests were able to take a look at the impressive result right after at the world premiere of “Precious Life” in cooperation with Alan Parsons in the mobile TiME Lab.

© Jana Denzler Photography
More pictures here!


Tuesday, September 4th, Hall 10, 10.00 – 19.00 hrs

10.00 – 10.15 hrs

Dr. Ralf Schäfer, Chairman of Steering Committees, 3D Innovation Center, Berlin

Elmar Giglinger, Managing Director, Medienboard Berlin-Brandenburg, Potsdam


10.15 – 13.00 hrs

Focus 1: 3D Partner Country China


13.00 – 14.00 hrs



14.00 – 16.00 hrs

Focus 2: The 3D Film Industry in Germany


16.00 – 16.30 hrs

Coffee Break


16.30 – 17.15 hrs

Focus 2 Second Part: The 3D Film Industry in Germany


17.15 – 18.20 hrs

Focus 3: 3D beyond Film & TV


from 18.20 hrs

World premiere in new dimensions: LICHTMOND 2


from 18.00 hrs

Reception to celebrate the world premiere, Gallery Lobby Hall 9

Speakers at the 3D Innovation Day 2012

The 3D Innovation Day at MEDIENWOCHE@IFA is the perfect opportunity to connect with our well-known guests and debate over their current projects and recent developments in the 3D market.

Inititally you will be welcomed by Dr. Ralf Schäfer, Director of the Image Processing Department at Fraunhofer Heinrich Hertz Institute and Elmar Giglinger, Managing Director of the Medienboard Berlin-Brandenburg.

The 3D Innovation Day is moderated by Chris Forrester and Gerold Marks.

Qiang Bai

Qiang Bai is producer of the very 1st 3D concert movie of mainland China featuring the Godfather of Rock music of China. He knows all the details of doing such a thing – from concert to shooting to post to marketing & distribution. Especially he and his select team have accumulated lots of connections with Chinese government and related business entities. And they have been subject to censorship which is in the nature of the artist and the work which is the subject of their movie.


Detlev Buck

Detlev Buck was born 1962 in Bad Segeberg and made his fame as actor, director, and screenwriter at the tender age of 22. Following high school, an apprenticeship as farmer, and alternate military service, he made the short film ERST DIE ARBEIT UND DANN…? (Time to Knock Off), which quickly became a cult classic. From the very beginning his feature films won awards and they found the attention of large theatrical audiences. KARNIGGELS (Rabbit Fever) won the Bavarian Film Award, WIR KÖNNEN AUCH ANDERS (No More Mr. Nice Guy) garnered an honorable mention at the Berlin Film Festival and won two German Film Awards, MÄNNERPENSION (Jailbirds), with Til Schweiger, Heike Makatsch, Marie Bäumer, and Detlev himself, was seen by more than 2.5 million viewers. TOUGH ENOUGH (2006) and HANDS OFF MISSISSIPPI (2007) both won multiple German Film Awards. 2008/2009 Buck shot in Cambodia, Malaysia and Germany the compelling love story SAME SAME BUT DIFFERENT based on the original story of Benjamin Prüfer and Sreykeo Solvan. RUBBELDIEKATZ (2011), a romantic comedy with Matthias Schweighöfer and Alexandra Maria Lara, was seen by more than 2 million viewers. His latest film MEASURING THE WORLD about Alexander v. Humboldt and Carl Friedrich Gauss is based on the international bestseller of the same title by Daniel Kehlmann. The shooting took place in Germany, Austria and Ecuador. The film is going to be released October 25th 2012. Beside his work as a director he is also well known as an actor in Germany.


Selected Filmography as Director




2007 HÄNDE WEG VON MISSISSIPPI (Hands off Mississippi)

2006 KNALLHART (Tough Enough)

2000 LIEBESLUDER (Bundle of Joy)

1998 LIEBE DEINE NÄCHSTE (Love Your Female Neighbor)

1996 MÄNNERPENSION (Jailbirds)

1993 WIR KÖNNEN AUCH ANDERS (No More Mr. Nice Guy)

Chuck Comisky

With 25 years of visual effects supervision, Chuck Comisky shifted into the world of 3D supervising the Stereo-3D Visual Effects for Jim Cameron's IMAX 3D documentaries, GHOSTS OF THE ABYSS and ALIENS OF THE DEEP. He ultimately arrived at AVATAR spending 4 years designing the 3D as Cameron developed and completed his performance capture for the ground breaking project. Chuck supervised the 3D creation of video high-resolution templates used by the numerous AVATAR visual effects vendors, among them Peter Jackson's WETA efx company (THE HOBBIT, LORD OF THE RINGS etc) and George Lucas' ILM (Industrial Light and Magic - STAR WARS). For each scene on the planet Pandora, he created the stereo-3D design also fitting the live action photography into the digital world of Pandora. With this in mind, Tsui Hark, the famous Chinese director who was planning the first epic 3D movie in China asked Chuck to lend his experience to a small “3D training movie” CATCHING MONKEY. He trained the key members of the crew on set who had no prior experience in shooting stereo-3D. Chuck advised them regarding equipment and his approach to the 3D design that had been developed on AVATAR. Chuck continues to upgrade and perfect the quality of 3D, be it in big budget productions like AVATAR or FLYING SWORDS OF THE DRAGON GATE, or in 2D to 3D conversion for theatrical release as well as for TV or mobile formats.

Chris Forrester

Chris Forrester is a technology journalist specialising in broadcasting. He is of an age when television just meant two channels, both black & white, and miniscule screen sizes, and a period that’s often claimed to have been the ‘glory days’ of TV. He says it is much better today!

He is a fan of greater consumer choice as well as satellite and cable delivery. He has witnessed NICAM stereo, Beta vs VHS, Pal+, HD-DVD vs Blu-ray, digital TV transmission, 16 x 9 and high-definition. Every one of these technology introductions created headaches – and a few arguments – amongst engineers, channel bosses and standards bodies.

It’s much the same with 3D for TV, where different technologies vie with one another for commercial success, and it might be argued, the consumer suffers.

Chris has also been a close observer of the world’s satellite industry. He wrote ‘High Above’, the inside story of SES Astra’s first 25 years, and has just finished its follow-up volume, ‘Even Higher’, which looks at the next 25 years of broadcasting.

He certainly hopes that Fraunhofer HHI’s 3D Innovation Day at this year’s MEDIENWOCHE@IFA he will see spectacular 3D footage, and help bring together Keynote speakers and panellists to discover what’s next in 3D-TV.

Elmar Giglinger

Elmar Giglinger was born in Kempten (Germany) and studied Economics. After further training to become a radio journalist and working in various positions in the radio industry he became editor-in-chief of Radio NRW in 1991. In 1993 he worked as the Studio Manager of Düsseldorf’s editorial office for the German TV news agency (DFA) and joined the music channel VIVA TV as Editor/Producer at the end of the year. From 1998 onwards he was the Program Director of the music channel VIVA ZWEI. In 2000 he joined MTV Networks Central Europe as Program Director and member of the executive board. In the beginning of 2005 and following to the acquisition of VIVA Media AG by MTV Networks, he became Senior Vice President for the company's music channels, MTV and VIVA TV, for Germany, Austria and Switzerland. Furthermore Giglinger was responsible for the MTV Networks channels in Eastern Europe, Benelux and Scandinavia. From 2007 to 2009 he was also named Program Director of Comedy Central. In the end of March 2009, Giglinger left MTV Networks and founded his own company EG Media & Music Consulting advising brand owners, media companies and TV stations, both nationally and internationally. Since October 2010 Elmar Giglinger has been Managing Director of Medienboard Berlin-Brandenburg GmbH and is responsible for media business development in Germany’s capital region.

Xiaosu Han

Xiaosu Han and Andreas Thalhammer are two emerging cinematographers based in Europe, but working on feature films, music videos and commercials around the world. Self-educated through years of working in the lighting and camera department, they made the jump from gaffers to directors of photography on low-budget feature films. Having worked together for the last eleven features and numerous shorter projects in Europe, Asia and the US, their dedication to bringing the director's vision onto the big screen is stronger than ever. Their latest feature films include British-Israeli production 'Lipstikka' (Berlinale competition 2011), US indie feature 'Summertime', Chinese rom-com 'Dear Enemy' and most recently the Hong Kong drama 'Stories Forlorn'. As regulars of Berlin-based MovieBrats they ventured into stereoscopic 3D with the mystery thriller 'Lost Place'.

Thorsten Klein

Thorsten Klein was born in 1978 in Kaiserlautern, Germany. He grew up in southwest Pfälzer Wald (Palatinate Forest). After he finsihed school. he worked in a paper mill, in a wrecking company and as part of the security personal in a soccer stadium. After his civilian service he stayed in Canada for a while. Afterwards he works as a free journalist for newspapers and music magazines in Munich. In 2005 he started his studies at the Deutsche Film- und Fernsehakademie (dffb) in Berlin, where he graduated as a screenwriter in 2008.

Ever since then he worked as an author and story editor for different production compannies and realised short films and web series. Currently he is working on two different cinema productions. 'Lost Place' is his debut film.

Martin und Giorgio Koppehele

Martin und Giorgio Koppehele are passionate musicians with music in their blood. Martin Koppehele went to a musical grammar school where he learnt to play the piano, cello and saxophone. And from a very early age Giorgio Koppehele was fascinated by the world of possibilities opened up by the analogue synthesizer and electronic sound.

Together with their wives Gabi and Suna they founded the Avenue Music recording studio and the Classic Arts Music Publishing company which have garnered numerous awards including the gold award for the DVD of the Ambra project as well as engineering flagship productions for high end home entertainment products. With LICHTMOND the two Koppehele brothers now set new standards for chill out / ambient pop in genuine surround sound and 3D animation.


Gerold Marks

Gerold Marks, Communications manager and multimedia producer Gerold Marks advises film production companies and distributors in digital communications. He also develops and implements online PR and social media marketing campaigns for films, festivals and awards, such as Wim Wenders' 3D dance film "Pina" and the renowned German film awards "Deutscher Filmpreis".

He has implemented different projects for film and cinema since completing his studies in Strategic Communication and Planning, with the focus of Audiovisual Communications/ New Media, at the University of Arts in Berlin.

As a specialist in Stereo-3D, Gerold publishes DigitaleLeinwand.de, the most popular German blog on the digitalization of cinema. He offers new trends and topics on 3D-cinema, digitalization, alternative content, film-based social media marketing, augmented reality, mobile services and transmedia to movie buffs and experts alike.

Gerold has been a board member of the Berliner Arbeitskreis Film e.V. since 2011.

Wilhelm F. Mittrich

Wilhelm F. Mittrich studied law and economics before he founded a book, calender and advertising newspaper publishing company in Hamburg. After 11 years of expansion he sold his company to a large Dutch publishing concern. His next venture was the restructuring of the MARKTHALLE, a public music venue in Hamburg, from an insolvent company to a fully government subsidized music event theatre. Once being engaged in music, Wilhelm funded music productions and finally founded music publishers and labels mainly engaged in classical music. From there Wilhelm went into CD and DVD manufacturing and built Europe’s largest optical disc manufacturer. After having developed a strong interest in entertainment related R & D, Wilhelm acquired a shareholding in imcube labs Berlin in 2010 and went on to expand the international side of imcube’s activities in 3D technology, with a special focus on China and Hollywood.


Julian Napier

Julian Napier has been at the forefront of live S3D production for almost a decade, working both in the UK and the USA. His S3D adventure began in 2003 when he directed the stereoscopic race movies integrated into the live touring show of Andrew Lloyd Webber’s STARLIGHT EXPRESS, which has just been revived this year.

In 2005 and 2006 successively, he created two thrilling 4D experiences for a live motoring theatrical show in the UK called MPH, hosted by Jeremy Clarkson at London’s Earls Court Arena and The Birmingham NEC.

He wrote and directed the very successful ‘London Eye 4D Experience’, which is in permanent residence at County Hall and which has been seen by over nine million visitors since its inauguration in August 2009. That same year he worked with SKY Television as a consultant 3D specialist in the development of their 3D channel.

In 2010 he directed the feature length film ‘Carmen in 3D’ for Principal Large Format, presented by RealD and Royal Opera House, for whom he also directed ‘Madam Butterfly 3D, which began its worldwide theatrical release in March 2012.

His creative flair and vast technical knowledge of native S3D cement his position as one of the foremost 3D directing talents in the UK.

Dr. Ralf Schäfer

Dr. Ralf Schäfer Dr. Ralf Schäfer graduated in communication technology at the Technical University of Berlin (TUB) in 1977. Afterwards he became a scientific research assistant at the Heinrich Hertz Institute in Berlin. In 1984 he took his Ph.D. at the TUB with a thesis on the digital encoding of television signals. From 1978 to 1989 Mr. Schäfer was head of a variety of research projects in the fields of image coding and signal processing with special reference to the application domains of TV and HDTV. Since 1989 he has been director of the Image Processing department at HHI.

Erwin M. Schmidt

Erwin M. Schmidt studied film production at the Deutsche Film- und Fernsehakademie Berlin (dffb). He was the 3D producer of Wim Wenders’ 3D dance film PINA (Berlinale Out of Competition 2011, Best European Documentary Prix Arte 2011, Oscar Nomination Best Documentary 2012). In 2010 he produced Wenders' 3D Video Installation IF BUILDINGS COULD TALK… (Architecture Biennale Venice 2010, Museum of Modern Art Tokyo 2011). Together with Gian-Piero Ringel he is the co-producer for Romanian director Bogdan Mustata’s debut feature WOLF (in post-production). At present he is developing CATHEDRALS OF CULTURE, a European 3D television series about buildings and their cultural importance, to be directed by 10 international filmmakers.

Frank Völkert

Dr. Frank Völkert, who was born in Berlin, earned his first work experience in staff development and personnel management in the IT sector after graduating in Business Administration. Since 1993 he is the Head of Administration & Finance of the FFA and was appointed the Deputy Chairman of the Executive Board in 2004.

Frank Völkert is married and has two daughters.


Alex Weimer

Alex Weimer Alex Weimer is co-founder and managing director of MovieBrats Films & Animation, a film production company and animation studio in Berlin Kreuzberg.

He works as producer and is in charge of story and project development, corporate marketing and business development. While completing his diploma in communication design with a focus on filmmaking at the University of Applied Sciences in Wuerzburg, Germany, he directed and produced several award-winning short films, before graduating with the feature length film FREMDKOERPER. After relocating to Berlin he joined forces with longtime collaborators to form MovieBrats GmbH. Recently he served as producer on the German-American sci-fi comedy "Asternauts" and the 3D mystery thriller "Lost Place".

He is a frequent expert speaker and panelist at conferences and festivals focusing on the topics of 3D storytelling, crowdfunding and transmedia from a producer's perspective.

Stego Zhang

Stego Zhang was born in Taiwan where he became a video editor and Apple “Final Cut Pro” specialist. Because of this background, he joined Apple in 2002 and was responsible for pre-sales and technical marketing in the professional segment. He moved to Beijing for Apple. His key achievement is to bring FCP to the local Chinese market with doing marketing events, organizing training programs and achieving the penetration of major accounts.

Stego’s shareholders in Dimension Plus are Bona, the largest private film studio in China and Tsui Hark, a famous Chinese Director. Stego enjoys an excellent relationship with the video and film industry and has a practical mind to bring new technologies to China to support the growing creative and entertainment industry.
Stego has also been the 3D technical consultant and the local stereographer for the 3D live capture of "Leehom Wang's 2012 world tour live concert in Beijing” in the “Birds Nest”, the Olympic Stadium in Beijing.

3D Film Industry in Germany: „Lost Place" - An Interview

with Alex Weimer, Producer and Managing Director MovieBrats GmbH

1. What is 'Lost Place' about?
'Lost Place' tells the story of four teenagers that enter a former military restricted area while on a geocaching trip in the vast forests in southwestern Germany. They come upon an abandoned military facility with a huge radio tower where US military conducted experiments with electromagnetic waves during the Cold War that lead to horrendous side effects. Once shut down, the facility is now mysteriously up and running again, and the kids suddenly find themselves confronted with an invisible, yet very real threat... The story harkens back to the real life project HAARP and for example picks up elements from conspiracy theories surrounding HAARP. Writers Thorsten Klein and Lena Vurma took the best of it to create an exciting, suspenseful thrill ride that leads us to places that we have never experienced like this in movies before.

2. Why did you decide to make the film in 3D?
When we heard of 'Lost Place' for the first time during a pitching event at the Berlinale 2011, my partner at MovieBrats, Esther Friedrich, and I immediately felt that it sounded like a perfect 3D project: A movie that already hinted in its title at the idea of exploring strange and unknown places. Add to that the element of mystery, an ensemble cast and exciting locations like an abandoned camp ground in the woods, a former military base, subterranean tunnels and a radio tower that pierces into the night sky, wow! We were always keen on stories and projects that offered a range of possibilities to use 3D in a narrative way to help tell a story, and not just for the mere effect of occasionally poking things at the audience like so many of the post converted standard Hollywood fare has to offer lately. With 'Lost Place' we wanted to bring in an additional value in terms of 3D, emotionally, visually, dramatically and ultimately immersive.

3. Which features had to be changed by using 3D? And what were your experiences with it?
With 42 days of shooting the schedule required quite a few more days than we would have used for it in 2D, which also raised the budget tremendously. After all, it was still a debut feature on a relatively low budget. Then there's the stereographer and his team adding a new element to the crew that is not simply part of the camera department, but actually brings out an additional creative authority. The approach to the visual style was a different one, but this is also something that distinguishes the film: There was no hand camera, but many many travelling crane shots to even more enhance and add to the feeling of space. Additionally, in about two thirds of the shots there are three or more characters in the frame. That was also part of the deal, to really use depth and spatial impression in terms of blocking, working with occlusion and requiring actors to precisely hit their marks. Also, production design is highly affected, having to incorporate much more elements of foreground, middle ground and background into set construction, also its not as easy to hide elements in an out-of-focus background. After all, I think this is a very positive outcome of stereoscopic filmmaking, that simply by the sheer size and weight of the camera system, one is forced to work very precisely, thinking twice where to put the camera and how that helps to tell the story and thus composing very clear images for the big screen.

3D beyond Film & TV: "LICHTMOND 2" - An Interview

with Martin and Giorgio Keppehele, LICHTMOND


1. Please desribe the biggest challenges you faced while producing "Universe of Light"

With LICHTMOND 2 "Universe of Light" we wanted to expand the possibilities as well on the artistic side as on the technical level. We are very happy that Alan Parsons (Alan Parsons worked for PINK FLOYD, THE BEATLES, THE ALAN PARSONS PROJECT) is a guest star on the song "Precious Life". Quite a sensation: Alan did not only compose the song "Precious Life" together with us, he also sang the lead vocals, played keyboards and guitars. With "Precious Life" we pushed the limits of what is possible in true 7.1 Surround Sound. Alan and the SubClones gave us 16 vocal tracks which we balanced in extremely spatial positions in the 7.1 surround field. In the TiME Lab we even expanded this acoustic experience together with the team of Fraunhofer Heinrich Hertz Institute and worked with altitudal information additionally. Also the 3D technique was expanded by our Spanish team which is directed by Diego Bonati. We can produce now a much wider range of depth. This allows the ultimate 3D experience in the LICHTMOND dreamworlds. This time we started right away with the 3D version. The biggest challenge was to realize the highest artistic and technical requirements together with our fantastic team during the last 2 years working on LICHTMOND 2 "Universe of Light".

Read more ...

3D Partner Country China: The Interview

Transcendence - Rock‘n Roll in the power of 3rd dimension

with Bai Qiang, Producer of Chinas first 3D music film


Transcendence is a Chinese 3D movie that looks at how Bob Dylan inspired musician Cui Jian symbolised China’s gradual acceptance of western influences in the early 1980s. Having set up 3D producton company 3D China Ltd in early 2010, Qiang Bai’s first 3D project will be released domestically by the end of the year.

In an interview with 3D Focus, we learn what Qiang Bai’s motivations were for producing Transcendenc in 3D; what challenges he faced with the Chinese authorities, why the 3D movie market is booming in China and whether the trend will continue.


Read the whole interview here!

3D Partnerland China: Culture is Business!

China – that’s a country of an incredible 1.3 billion people with an annual economic growth rate up between 8-10 percent. The European and American entertainment and media industry is casting covetous eyes at this Asian market whose size is only matched by its willfulness. With an estimated turnover of $ 170 billion, China has recently outranked Germany and is now the world’s second largest media market after the USA.

After a long period of isolation, the People’s Republic has recently begun to send out clear signals in favor of more integration and cultural and economic exchange. These are in line with Beijing’s declared intention to become the world’s number one creative superpower by 2020 at the latest. To achieve this ambition the Chinese government is also making purposeful concessions to the western world. The ceiling of the prolonged import ban on more than 20 foreign films a year has now been lifted to 34. And one quarter of all box office takings will now be directed to foreign studios instead of the previous 13 percent. Yet these concessions depend on one critical condition being met: all films must be produced either in 3D or the IMAX format.

This shows that the Asian powerhouse is clearly banking on the third dimension in cinema giving it a powerful thrust forward on its way. Investment programs of breath-taking dimensions are not just supporting new technologies and cinema equipment but also making a new line-up of talent fit for the challenges ahead. In future a new generation of internationally trained cineastes and internationally savvy 3D film experts will serve a much broader international audience with Chinese films.

On 4 September 2012, the 3D Innovation Day offers a variety of perspectives on China as the land of 3D movies and illustrates them with very specific current productions and key experts. It’s a unique opportunity for you to talk with our experts about co-production opportunities with the Middle Kingdom and to discuss the latest exciting Chinese 3D productions with us and our Chinese guests.

Focus 1: 3D Partner Country China

10.15 – 13.00 hrs


The Master Plan for China's Cultural Economy - 3D as a Plank in China‘s Culture and Export Campaign

The figures are formidable and dwarf all developments from traditional hubs of the film industry: 2012 box office takings up by 45% over 2011, lavish subsidies for international co-productions and an easing of nearly all import restrictions on internationally produced 3D movies, 35% growth in 3D movie theaters and no less than 226 IMAX theaters up and running are all signs of a truly mammoth market. Like all other developments in China, the film, TV and internet industry – and 3D in particular - are part of a long-term plan mediated with political, social and economic dimensions. Not just censorship alone but direct prescriptions about what content should be and a tight grip on all distribution channels mark an industry with which China intends to become a leading player both on the domestic and international stage.

Wilhelm F. Mittrich, CEO imcube 3D Solutions Limited, Hongkong and Director Corporate Development imcube labs Germany GmbH, Berlin

Transcendance - China's first 3D Music Film

During the Tian’anmen Square protests of 1989 the students adopted Cui Jian’s 'Yiwu Suoyou' ('Nothing to my Name') as their anthem and at the height of their protests Cui Jian even gave an impromptu concert at the square. Over the years 'CJ' or 'Lao Cui' ('Old Cui') performed concerts in China, large and small, often belting out songs with a symbolic red band tied over his eyes. His music blends western rock’n roll with Chinese traditional music. 'Transcendance', a 3D film of his recent concert with the Beijing Philharmonic Orchestra is the first independent music film in 3D produced in China, to be in the cinemas in September. Qiang Bai, the producer, will show essential scenes of the film and talk about his two year journey to get funding, arrange production, overcome censorship and find distribution for his project.

Qiang Bai, Film Producer and Owner of 3D China Ltd, Beijing


China's Learning Process - from Copyright Debates to the Import of Hollywood Production Standards

For decades China was known for infringing copyrights of foreign films and other culture products. The lack of protection for intellectual property has greatly hindered the growth of creative industries and the development of writers and directors. This changed two years ago when President Hu Jintao declared: 'Culture is a business', and since then fundamental changes have been introduced in all sectors, with a western intellectual property protection model that allows for strong enforcement possibilities. However, another limiting factor to the successful growth of the creative industry is the lack of domestic know-how, which is an essential prerequisite for Chinese filmmakers in their pursuit for matching international quality standards.

Stego Zhang developed the production and post-production workflow for the first and to date largest full 3D Chinese epic martial arts feature film, 'Flying Swords of Dragon Gate', all based on European and US technology and Hollywood 3D expertise. This film was hugely successful in China with nearly $ 100m box office return to date on a budget of $ 35m.

Stego Zhang, General Manager of Dimension Plus Technology Co. Ltd, Beijing

Chuck Comisky, Stereo 3D Design and Implementation for AVATAR


Culture is Business - International Cooperations between Europe and China

Thilo Graf Rothkirch, Main Shareholder and Founder of Rothkirch Cartoon Film GmbH


Moderated by: Chris Forrester, Media Journalist and Industry Consultant, London (UK)

Focus 2: The 3D Film Industry in Germany

14.00 – 17.15 hrs


3D as a Sales Engine - The Role it plays for the German Cinema and Film Industry now
The facts and figures recently presented by the FFA for the year 2011 speak for themselves: for German cinemas 3D is still is one of the biggest box office money spinners! 11.5% of new releases in 2011 were 3D movies yet they accounted for no less than 23% of total box office sales. And it’s particularly gratifying to note that German 3D film production has made an especially strong showing and taken its own acknowledged place in the international 3D film market.
Frank Völkert, Deputy Chairman Executive Board, FFA, Berlin


A Production Note - 'Measuring the World' (3D)
If Germany continues to be a talking point as a hub for 3D production in 2012, this will be due in no small measure to the filming of Daniel Kehlmann's bestseller 'Measuring the World'. This historical comedy focuses on the lives of German geographer Alexander von Humboldt who went out to take the world’s measure, and German mathematician Carl Friedrich Gauß who embarked on a similar adventure only from the comfort of his own study desk. Director Detlev Buck ('RubbeldieKatz', 'Sonnenallee') says that the film was made in 3D because the novel is all about pushing back the frontiers of knowledge and seeing reality from new perspectives and a variety of different viewpoints. Even so, as he admitted in an interview before shooting began, filming in 3D meant that he would be up against a set of totally unknown and new challenges. The film starts in German cinemas on 25 October 2012.
Detlev Buck, Managing Director, Boje Buck Produktion


A Production Note - 'Lost Place' (3D)

LOST PLACE LensFlare Banner wideWith the debut film of young German film director Thorsten Klein the Berlin-based film production company MovieBrats has mastered the challenge of taking stereoscopic 3D not as showy gimmick but as an embedded narrative element. The mystery thriller 'Lost Place' is set on the site of an abandoned bunker, a remnant of the Cold War deep in the Palatinate Forest (Pfälzer Wald). Four young people on a geocaching trail stumble across a deserted American military base once used for experiments in electromagnetic waves. Like the characters in the story, the camera too probes into brooding forbidden places and uses the depth perspective to bring them to startling life. The movie which sets new standards in the use of 3D as a composite element of the storyline will be released in German cinemas in March 2013.

Alex Weimer, Producer and Ceo, MovieBrats GmbH

Thorsten Klein, Director & Co-Author of 'Lost Place'

Xiaosu Han, Director of Photography of 'Lost Place'


A Production Note - 'Kathedralen der Kultur': A documentary TV series in 3D and 2D on the Soul of Buildings
In Wim Wenders incomparable homage to the choreographer Pina Bausch he showed us the new stunningly exceptional visual language and aesthetic that 3D can offer. With 'Kathedralen der Kultur' ('Cathedrals of Culture') he now pushing 3D even more forward. The new Neue Road Movie's project is a ten part documentary series that joints two award-winning European filmmakers. The series is a reflection of the soul of buildings and their appearence as a mirror for society. The films reports from the viewpoint of the buildings themselves on how they experience and reflect the people they encounter. The project is still in production and will be released in 2013.
Erwin M. Schmidt, Producer Neue Road Movies GmbH

Wolf Bosse, Head of New Business Development bei ARRI Film & TV Services GmbH, Berlin 


Moderated by: Gerold Marks, Media Expert for 3D and Social Media, digitaleleinwand.de, Berlin

Focus 3: 3D beyond Film & TV

17.15 – 18.00 hrs
New Marketing Strategies for the Music Industry - 3D Opera Productions for the Cinema
Cinemas call it alternative content by which they mean any form of program that falls outside of movies, their core business. In particular classical music bills of fare have now become a fixed part of the cinema program and are enticing audiences back to the multiplexes which cinemas had long given up hope of retrieving. And now the third dimension is opening up the frontiers of the opera experience as last year London director Julian Napier brought what is probably the world’s most famous opera - 'Carmen' – for the first time in 3D to some 1,500 cinema screens all around the globe. The 3D broadcast was live and also transmitted in live 3D from London’s Royal Opera House to selected cinemas in the UK and Ireland. The Chief Executive of the venerable Royal Opera House was more than enthusiastic: 'Carmen in 3D is a gripping immersive experience of a type never possible in the cinema before - so realistic you’d think you were up there on stage in the thick of the action'.
Julian Napier shows excerpts from the production and report on what it was like to film the opera and their plans for further alternative 3D content.
Julian Napier, Director of Opera Live Productions 'Carmen' and 'Madame Butterfly' (UK)


18.00 – 18.20 hrs

The marriage of music and 3D CG(I) visualization - Keynote for the first 3D Music Animation
The 14 June 2011 saw an unusual world premiere at Hamburg’s Cinemaxx multiplex – 'Moonlight', the first Blu-ray music animation in 3D. This groundbreaking production was based on the stage appearance of the LICHTMOND ensemble at the Night of the Proms. What the brothers Giorgio and Martin Koppehele especially wanted to show in their lavish 3D production was how creativity and technical innovation can come together to form one single unity. It was a venture crowned with remarkable success: last year the project, which had then sold over 25,000 discs, received the German Phonographic Industry’s DVD GOLD Award at the IFA.
Martin and Giorgio Koppehele, LICHTMOND


Moderated by: Chris Forrester, Media Journalist and Industry Consultant, London (UK)

World Premiere

from 18.00 hrs, Hall 9

World premiere in new dimensions: 'Precicous Life' of LICHTMOND 2 in cooperation with Alan Parsons

This year brothers Martin and Giorgio Koppehele are going one further after the runaway success 'Moonlight' with LICHTMOND's new project 'Universe of Light'. LICHTMOND cooperated with Fraunhofer Herinrich hertz Insitute to produce high-resolution videos together with music for Fraunhofer HHI's TiME Lab. The basis established LICHTMOND - a journey thorugh electronic sound worlds and fascinating 3D images 'Made in Germany'.

The TiME Lab is an incomparable one-of-a-kind blend of 3D panoramic projection in 7k resolution with an astounding 3D sound system for the ultimate immersive film experience. The audience doesn’t just see but is completely immersed in the animations and sound worlds.
And with Alan Parsons, Martin and Giorgio Koppehele have also gained an international pop icon with a world reputation for groundbreaking music to collaborate on their ambitious project. They are giving the world premiere of LICHTMOND 2 in the mobile TiME Lab at IFA 2012 and at the special 3D Day at the Medienwoche@IFA.
Martin and Giorgio Koppehele, LICHTMOND
with a special greeting from Alan Parsons


Moderated by: Chris Forrester, Media Journalist and Industry Consultant, London (UK)

Mobile TiME Lab

LichtmondTimeLab4PM left blender TiME Lab – Tomorrow's immersive Media Experience Lab

Engineered by the Fraunhofer Heinrich Hertz Institute (HHI), the TiME Lab is a unique development unrivalled anywhere in the world. Its three dimensional 180 degree panoramic projection uses up to 14 HD projectors to render a 7k resolution (7,000 x 2,000 pixels per 2D or 3D video frame) that takes in the whole of the viewer’s field of vision. Added to this is an outstanding audio system for an ideal immersive 3D audio visual experience. Filming for the 180 degree panoramic projection is made possible by a special camera system built by Fraunhofer HHI. For 2D rendition six top-end digital cinema cameras (such as ARRI’s Alexa M) are mounted to cover a visual range of 180 degrees. For 3D filming a total of 12 micro HD cameras are mounted in six pairs in a special camera array purpose-built and patented by Fraunhofer HHI – the world’s first system for recording video panoramas in excellent stereo quality.

On 3 - 5 September at the 3D Innovation Day during the MEDIENWOCHE@IFA Fraunhofer HHI’s TiME Lab 180° 3D panoramic projection will be premiered in its mobile version. In partnership with the ambient pop project LICHTMOND the TiME Lab will take viewers on a voyage of discovery through electronic tapestries of sound paired with a fascinating universe of animated 3D. The joint project between Sasha Waltz and the Berlin Philharmonic 'MusicDANCE Carmen' will also receive its world premiere on these two days in the mobile TiME Lab.


Screening Hours, Hall 9



14.00 hrs: Press Screening of MusicDANCE Carmen" - Registration via This email address is being protected from spambots. You need JavaScript enabled to view it.

15.00 - 17.30 hrs: 180° High End Panorama Screening every full hour, 30 minutes each



10.00 - 12.30 hrs: 180° High End Panorama Screening every full hour, 30 minutes each

14.00 - 17.30 hrs: 180° High End Panorama Screening every full hour, 30 minutes each

18.20 hrs: Premiere of Precious Life" from LICHTMOND

3D Film Industry in Germany: An Insight

at the 3D Innovation Day
on 04 September 2012, 14.00 - 17.15 hrs
at ICC Berlin, Hall 10


The afternoon of the first 3D Innovation Day at the International Media Convention presented by MEDIENWOCHE@IFA puts the spotlight squarely on 3D films made in Germany. The fact is that the number of German films shown on the 3D screens is steadily rising – along with the confidence shown by German producers in the story-telling power of the third dimension. Established directors like Detlev Buck are now reporting on their positive experiences with 3D while the 3D movies made in Germany by the rising generation of young producers and directors are also creating a buzz.

Read more ...

3D beyond Film & TV: 3D Opera - A niche market of tremendous promise

at the 3D Innovation Day
on 04 September 2012, 17.15 - 18.20 hrs
at ICC Berlin, Hall 10


Over the past three years 3D has practically swept the board on the global entertainment market while major blockbusters like 'Avatar' have galvanized the roll-out of digital cinema screens across the world putting new life into a process that was somewhat sluggish beforehand. Yet the increasing spread of 3D cinema screens also brings with it a new audience demand for suitable content. Cinema is a high quality medium and still remains the gold standard and measure of all things when it comes to genuine entertainment experiences – a fact that other branches of the entertainment industry have discovered for themselves.

From sporting events and concerts to opera broadcasts, alternative forms of cinema content have an economic potential not to be sniffed at. The British global media industry analysts Screen Digest forecast a dramatic rise in revenue from alternative cinema content. Yet over and beyond its central plank of movies, the cinema content business is still pretty much the privileged domain of the USA. And the American industry gives a particularly high entertainment value to live broadcasts in 3D.


While Germany remains firmly entrenched in a wait-and-see position, and alternative content means only the popular (2D) opera broadcasts from the Metropolitan Opera in New York, British colleagues have gone a whole step further. British director Julian Napier used 3D stereo technology to present George Bizet’s "Carmen" on some 1,500 3D cinema screens across the world. And one success followed fast on the heels of another as Napier turned to "Madame Butterfly" as the second opera for 3D screening. The two 3D operas are co-productions by RealD and London’s Royal Opera House. And as Tony Hall, Chief Executive of the Royal Opera House enthuses, both these operas were screened in an engrossing and enthralling manner of a kind that has never been possible in a cinema before - so utterly realistic that you felt that you were up there on the stage yourself, in the thick of the action. With such positive reactions, we can confidently look forward to yet more opera in 3D.


The director of the 3D live opera productions Julian Napier will be discussing the opportunities and risks of such productions and the business case they present on 4 September 2012 at the first 3D Innovation Day presented MEDIENWOCHE@IFA.



3D Partner Country China: Further experts and speakers

Wilhelm F. Mittrich,

CEO imcube 3D Solutions Limited, Hongkong and Director Coporate Development imcube labs GmbH, Berlin


Stego Zhang,

Managing Director of Dimension Plus Technology Co., Ltd, Peking


Maya Gräfin Rothkirch,

Managing Direcotr of Rothkirch Cartoon Film GmbH, Berlin


Chuck Comisky,

Visual Effects Supervisor Stereo3D


Moderated by: Chris Forrester