This article originally appeared in Playback’s Spring 2015 edition

Cinespace Film Studios’ Ontario and Chicago facilities are booked solid, and while it investigates expanding its soundstage offerings, it is also focusing on its part-ownership in 3doo, a VOD platform that streams indie 3D content and is looking to add Ultra HD and high-dynamic range (HDR) offerings.

Jim Mirkopoulos, Cinespace VP operations and 3doo content advisor, is nudging up-and-coming producers to capture in these immersive formats if their projects are well-suited, and to retain digital rights in as many territories as possible. He is offering discounts on studio time in return for distribution agreements with 3doo.

“The hope is that global VOD revenues will provide back-end revenue to Cinespace to offset rental abatements, and generate future development funds for the producer,” he explains. In January, a 4K science-fiction feature production wrapped at Cinespace looking to use this model.

In 2012 Cinespace bought its stake in New York- and Cologne-based 3doo, whose namesake app comes pre-loaded or downloadable on 3D smart TVs manufactured by Samsung, LG and Panasonic as well as 3D Android devices. This adds up to 75 million TV sets, 25 million of which are hooked up to Wi-Fi and can access the app, according to Mirkopoulos. He says the platform has amassed 750,000 worldwide users since its April 2012 launch.

3doo offers 90 hours of free content, and introduced the VOD service last October. Producers can upload their 3D offerings at no charge and set the rental price, which could range from around $0.99 to $3.99. The revenue split sees 70% of sales going to the content owner.

Mirkopoulos acknowledges that so far monetization has been modest. Content presently includes non-scripted fare such as music performance, documentary and outdoor programming, including extreme-action video provided by video camera manufacturer GoPro.

North America has not warmed to 3DTV. According to DisplaySearch, the 3D share of TV shipments in the U.S. began to decline in 2013, likely due to viewers’ need to wear special glasses. Some 3DTVs require battery-operated shutter glasses, while others call for passive 3D glasses costing as little as $6. But glasses-free 3DTVs, which were on display at January’s Consumer Electronics Show, could spark a turnaround.

Meanwhile, 3doo is eyeing an additional Ultra HD platform (offering 4K resolution) or a High-Dynamic-Range (HDR) platform (offering greater brightness and contrast) or both. The holdup on Ultra HD is a lack of widespread availability of the required bandwidth.

3doo’s core markets are Germany (586,000 views) and Russia (299,000 views) and it is now turning to China, where theatrical 3D movies represent more than 40% of the box office, compared to 17% and falling in North America, according to IHS data reported in The New York Times. 3doo looks to soon pitch TV and tablet manufacturers in China such as Hisense to carry its app.

Producers looking to profit from 3D should keep catering to key markets. Mirkopoulos sees science fiction as a good international seller, and territory-specific creative decisions can pay off.

He cites the example of the 3D Canada/Germany copro Resident Evil: Retribution (2012), which cast popular Chinese actress Bingbing Li and set some of the film in Red Square to appeal to Chinese and Russian audiences.

He believes lower-budget producers also can benefit. “These platforms are multiplying and getting producers into monetizing areas they didn’t conceive of before,” he says.

In the meantime, 3doo’s sustainability may ride on landing a big-name production. Yabazam, which similarly offered indie content on 3D Samsung and LG TVs and Android tablets, folded in December.

That leaves 3D streaming competitors including the Sony Entertainment Network, Vudu and 3DGO!, all of which offer top Hollywood movies. Netflix offers a few 3D titles but is focusing on Ultra HD and HDR. 3doo hasn’t struck a deal with the U.S. studios, which demand hefty minimum guarantees.

But that could soon change. Avatar (2009) reignited Hollywood’s interest in 3D, and many titles are passing through their theatrical and Blu-ray life-spans.

“There’s a glut of content that soon will be at the exploitation phase, and Hollywood producers can monetize their shelf titles at that time,” Mirkopoulos argues. “And we think we’re positioned to be there.”