Variety has learned that 3D cinema may be poised for a significant resurgence, driven by a surprising catalyst: artificial intelligence. According to a RealD study of comScore data, North American 3D ticket sales surged 34% from May to July 2025 compared to the same period last year, with audiences willing to pay an average of $18.51 per ticket—nearly $4 more than standard 2D screenings. This renewed interest bodes well for upcoming releases like James Cameron’s Avatar: Fire and Ash and a restored 3D version of Werner Herzog’s 2010 documentary Cave of Forgotten Dreams, set for re-release early next year.
Herzog, who recently premiered a 6K restoration of Cave at Telluride, describes the experience as revelatory: “To me, it looks almost like a new film,” he says, particularly praising the epilogue featuring “radioactive albino mutant crocodiles” as a leap into “poetry and fantasy.” Yet the 82-year-old auteur vehemently opposes converting his other works to 3D: “For God’s sake, don’t touch my movies! Let them be 2D.” He dismisses the idea of colonizing Mars as “a pipe dream,” though he jokes he’d gladly bring a 3D camera if sent there.
The potential for a broader 3D revival hinges on AI-driven machine learning, which could drastically reduce conversion costs. Paul Becker, CEO of Outsyders, argues that studios should view their archives as untapped goldmines: “Machine learning technology will allow us to see every movie ever made in 3D,” he says, emphasizing that future VR platforms will demand such content. Becker’s team has already applied AI to conversions like Imax’s The Blue Angels and Disney’s Lilo & Stitch, which grossed $55 million in 3D alone this summer.
Despite ethical concerns about AI displacing workers, Becker insists his company is hiring: “We’re bringing in talented artists who were held back by outdated technology or budgets.” But not everyone is convinced. Filmmaker Kent Jones, who programmed Ang Lee’s 3D drama Billy Lynn’s Long Halftime Walk at NYFF, scoffs at the commodification of art: “Why don’t they grab every painting in the world and make those three-dimensional, too? All this is about is commerce.”
Exhibitors like AMC and Imax note that 3D remains strongest internationally, particularly in Asia-Pacific markets. Yet with studios planning more 3D franchise releases—including Tron: Ares, Predator: Badlands, and Zootopia 2—and venues like the Sphere in Las Vegas offering immersive experiences, the format’s future may be brighter than skeptics think. As RealD CEO Elizabeth Frank notes, “Consumers are willing to pay almost a third more for a ticket.” The question is whether AI can make that premium accessible to all.
The Pop Blog general news and updates, mostly from press releases and conferences.