Moviegoers across the U.S. and Canada will be among the first audiences anywhere to experience TITANIC in 3D at the exclusive “sneak preview” fan screening events, set for Monday, April 2nd in Canada and Tuesday, April 3rd in the U.S. Presented exclusively in RealD, these one-night only special advance screenings will take place at 6:30pm at select 3D movie theaters across N. America.

Each TITANIC in 3D Sneak Preview Pack includes:

• One ticket to the movie sneak preview
• A collectors edition pair of TITANIC RealD 3D glasses
• A limited-edition TITANIC movie art lithograph

(While supplies last)

Tickets for these April “sneak preview” events are on sale now both on-line, and at participating theatres. For event locations around the country, to purchase tickets, or to learn more about this exclusive event, please go to: WWW.TITANI

CMOVIE.COM/FANSNEAKPREVIEW

James Cameron, who also directed the breakthrough 3D epic AVATAR, will bring TITANIC to life as audiences have never seen it before, digitally re-mastered and harnessing the innovative technology of StereoD. The re-release of TITANIC also coincides with the 100th anniversary of the Titanic setting sail on April 10, 1912.

Written, directed and produced by James Cameron, TITANIC is the second highest grossing movie of all time. It is one of only three films to have received a record 11 Academy Awards including Best Picture and Best Director; and launched the careers of stars Leonardo DiCaprio and Kate Winslet.

Called “A spectacular demonstration of what modern technology can contribute to dramatic storytelling” by Variety upon it’s release in 1997, the long in the works 3D conversion was overseen by Cameron and his Lightstorm producing partner Jon Landau who produced the hit movie.

Released by Paramount Pictures and Twentieth Century Fox, TITANIC returns to theaters for a limited engagement beginningApril 4th in 2D, RealD 3D and IMAX 3D. Learn more about TITANIC in 3D at HTTP://WWW.TITANICMOVIE.COM/

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During the development of The Darkest Hour, James Cameron’s groundbreaking 3D film Avatar was released to overwhelming critical, financial, and creative success. “Originally The Darkest Hour was a 2D movie in my head, but when Avatar came out, the studios started really thinking about which properties could be 3D.

So in the spring of 2010 we shot some 3D tests in Los Angeles to see how 3D fit with what we were trying to create. Quite honestly I was reluctant because I had a different film in my head for so long. Once we played with the 3D equipment, cut that test night shoot together, worked with it in post putting in some visual effects, and projected in on screen… I just changed,” admits director Chris Gorak.

“Going 3D was quite ambitious because it costs more money,” adds producer Timur Bekmambetov. “It was a very brave decision to shoot in 3D and not convert later, because it changed the whole production plan and made us rethink all these shots. The choreography of the 3D shots is another language from a 2D movie.

It’s the beginning for 3D and some of this language doesn’t exist yet. Every new 3D movie, it is one step forward to develop this language. We have to learn how to do this, but also we have to teach audiences how to consume, because it’s very different. But it’s good because we have a chance to play with these new toys and figure out how it works.”

“We chose to shoot 3D to really capture one, the environment of this incredible city, and two our alien itself and the way it behaves and shreds. We thought the electrical nature of the aliens would be fantastic in 3D. To us, Moscow is the new Pandora. To be the first film to shoot 3D here is a great opportunity that we didn’t want to miss,” shares Gorak.

“Shooting in 3D has an immersive quality to it. I like to call it innovative dynamic immersion, or IDI. It’s not about 3 dimensions… it’s about four, five, or six dimensions. It’s HD on steroids where you’re in the environment and the environment is shaped in a different way for the viewing audience.  Grabbing the characters and sticking them in the lap of the audience, and grabbing the audience and sticking them in the environment is what it’s about,” says Gorak.

“The movie is going to be a real strong emotional and thrilling ride. Once out characters come out of their shelter and try to find their way across the city, it’s pretty relentless. Chris and our director of photography Scott Kevan specifically designed shots with a lot of depth behind the characters so you’ll feel like you’re there, like you’re in it,” describes producer Tom Jacobson.

“It’s a natural for this movie to be 3D because the story has an adventure quality and a journey part to it – those elements play really well in 3D. We’re also trying to shoot in this naturalistic action way that we don’t think has been done a lot in 3D. You’ve seen grand fantasy science fiction movies, family movies, and video game movies shot in 3D, but we haven’t really seen a grounded adventure movie in 3D yet.”

Just prior to the start of filming, acclaimed visual effects supervisor Stefen Fangmeier joined the creative team. “Timur was instrumental in developing some of the early concepts – the way that we could define the aliens movement by being electric, lighting the things around it, the shred, and some of the lightening that it shoots.

But when it came time to actually execute that, Stefen has been very instrumental in helping us to really integrate the production into those visual effects. It’s very important that it not feel too CG. It needs to feel like it is really happening,” says Wills.

“Stefen’s input on the film is priceless,” states Gorak. “He added a great level of creativity and detail to the film that comes from his years of experience and his experience as a director. He had some great suggestions, not only on set, but also in post as we developed the alien further and how an alien would come towards the camera in 3D.”

“The 3D helps to create these epic stages for an intimate story. The core is the relationship between people, that’s a dramatic spine of the movie, what makes the movie emotional,” says Bekmambetov. “But the scope gives you the scale and the background. This is very unique because the 3D makes the experience about being there. I hope this movie will give audience a chance to literally feel what’s happening when a huge disaster happens. It’s the first movie when you see the world in this destroyed in 3D.”

Shooting in 3D makes the job of the actors even more crucial. “It’s very important to be connected with these characters because in a 3D movie you cannot cut and force the viewer’s attention, you can’t shake him, and you have to let him be there with the characters. Thankfully, we have great actors.”

“The modern movie-going audience is thirsty for something that they haven’t seen before. But they’re not going to care if they’re not connected to the characters going through the experience,” agrees Wills. “First and foremost for us was to really connect this character journey to the audience and then let the experience that they’re having with the aliens, the visual effects, and the 3D inform and complement that, but not to overpower it.”

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Legend3D, the leading innovator in 2D-to-3D conversion technology, today announced that it closed on a $19 million Series E Preferred Stock offering, to further expand its leadership in 3D conversion. Secured proceeds will fund ongoing R&D efforts to enhance Legend3D’s proprietary 3D conversion pipeline, helping the company meet the swelling demand for 3D content while continuing to deliver the highest quality material at the most competitive pricing.

Additionally, the financing enables Legend3D to forge partnerships with content owners on 3D film and television projects, funding the 3D conversion in exchange for long-term revenue sharing participation in the 3D content. The financing was led by Northwater Capital Management, which makes strategic investments in intellectual property, and is joined by return investors PAR Investment Partners, L.P.; and Augustus Ventures Limited.

“Legend3D has redefined the art of 3D storytelling, allowing audiences to experience entertainment outside the boundaries of a ‘flat’ world,” said David Patterson, Chair and CEO of Northwater Capital Management. “With the recent success of films such as Martin Scorsese’s Hugo, 3D storytelling is primed to sweep audiences worldwide, making it increasingly critical that the technology behind-the-scenes offers today’s content creators a toolset without limits.

We eagerly await the conversion work that will come to fruition as a result of this commitment to Legend3D.” Legend3D uses a proprietary 2D-to-3D conversion process that combines skilled artistry with technology to enhance filmmakers’ storytelling, deepening their connections with audiences across the big screen and in home theaters worldwide.

The company’s proven conversion process, pipeline and methodology allow Legend3D to deliver incredibly complex scenes in the highest quality 3D—essentially indistinguishable from camera-captured 3D material. Of note, Legend3D’s unique, streamlined conversion process has been utilized to seamlessly match 3D converted scenes to live-action 3D shots for major Hollywood blockbusters such as Hugo, Transformers: Dark of the Moon, Pirates of the Caribbean: On Stranger Tides, Green Lantern and The Smurfs.

Dr. Barry Sandrew, founder, COO and CTO of Legend3D, commented, “As we strive to push the envelope for 3D storytelling beyond anything that the industry has experienced to date, our efforts are strengthened by the synergistic alignment with Northwater Capital, among other return investors.

With Northwater Capital’s proven track record in supporting innovation within the intellectual property space, this funding marks an incredible opportunity to further hone our 3D conversion pipeline and develop advanced 3D structures to benefit our industry partners. Marrying these proceeds to our talented team of stereographers will help us make the ‘impossible’ possible in a 3D world.”

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Baz Luhrmann, the Australian director known for films such as “Romeo and Juliet” and “Moulin Rouge,” has decided to make his next project a film version of F. Scott Fitzgerald’s 1925 novel, “The Great Gatsby.” This classic novel has already been brought to the big screen three times: first in 1926 as a silent film, then in 1949, and in 1974, which starred Robert Redford and was directed by Jack Clayton.

Luhrmann’s version adds something previous versions failed to deliver: the entire film will be shot in 3-D. Today, it seems that no matter what kind of movie we are seeing, everything seems to be shot in 3-D, whether it is necessary or not. Has Hollywood just become obsessed with 3-D, or does every movie we are seeing actually need to be shot in 3-D?

Over the past twenty to thirty years, if a film was in 3-D, there was a reason for it. A certain scene would leap out, and blow you away. Now, ever since James Cameron’s “Avatar,” it seems everything we see should be in 3-D. I have discovered certain moviegoers don’t mind the fact the many films are being produced in 3-D. What bothers most people is the amount of money it costs to watch these films.

They are more expensive than a traditional 2-D film. Is this is all just a fad? In movie history, beginning with sound, moviegoers said it was just a fad, and it wouldn’t last. Then the same thing happened with color. Maybe this is just the next step in the evolution of motion pictures.

According to 3DTV Blog, one person said that they are just trying to get people to get used to the idea of 3-D. When color first came out, they still made black and white films for years. He also believes that less than ten percent of movies will actually be in 3-D. Hollywood has tried 3-D numerous times, mainly in the 1950s and 1980s, but it never took off.

It just seemed to be a novelty. So why do they think it’s going to work this time? One of the reasons some moviegoers mentioned for the push into 3-D is that these movies can make more money at the box office because of the increase in prices people need to pay to watch these films.

A lot of fans are outraged at the decision to make “The Great Gatsby” in 3-D, and feel it’s a marketing tool to boost ticket sales. David Calhoun, the film editor, said his heart sank when he heard this movie was in 3-D. It is a dramatic period piece set in a time alcohol was banned in the United States.

Where is the logic behind filming it in 3-D – having Gatsby’s hat poking out of the screen, or Daisy’s necklace floating before your eyes? There should be more time spent on developing the story than on special effects, which are minimal.

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