Through the terms of the global licensing agreement, Marchon3D will distribute its RealD-compatible 3D glasses in cinemas, retail locations, e-commerce sites and through electronic equipment manufacturers worldwide. Marchon3D’s parent company, Marchon Eyewear, one of the world’s largest manufacturers and distributors of eyewear and sunwear, will market designer 3D eyewear and a prescription 3D lens directly to eyecare professionals. Marchon Eyewear currently distributes its products in over 100 countries, with regional headquarters in New York, Amsterdam, Tokyo and Hong Kong.

“RealD is committed to providing moviegoers with a premium 3D viewing experience. Marchon3D has developed a new breed of 3D eyewear that raises the bar, allowing moviegoers to experience RealD 3D with glasses in a design and fit all their own,” said Joseph Peixoto, President of Worldwide Cinema at RealD.  “We understand that just as movie selection is a reflection of personal taste, some RealD 3D fans want a choice of 3D eyewear that fits their personal style. Marchon3D has brought a new level of fashion to RealD-branded 3D glasses.”

Marchon3D eyewear features a portfolio of patent-pending circular polarized 3D lens technologies that stand apart from all other premium 3D lenses due to unique, curved lens designs. The lenses are inserted into premium-style frames that offer wearers superior fit, comfort and an outstanding 3D viewing experience. Additionally, the 3D eyewear provides top performance not only in RealD-enabled theaters, but also with compatible passive-system 3D televisions, laptops and monitors. The company has the ability to make passive 3D eyewear for any specification, and is already working with leading cinema, TV, computer and electronics equipment manufacturers globally.  A key feature of the new eyewear is that the lenses also block 100 percent of UVA and UVB rays and can be used as sunglasses.

“Marchon3D has the ability to design and produce advanced eyewear with significant fashion enhancements that together produce the highest quality 3D viewing experience,” said Al Berg, Founder of Marchon Eyewear.

The film, also known as the “worst movie ever made” due to its numerous continuity and production gaffes, has become an iconic sci-fi cult classic due largely to its reputation for being so bad. It was christened “worst movie” back in 1980 by Harry and Michael Medved in their book “The Golden Turkey Awards”, when they claimed to have found the “holy Grail” of bad movies. Since then, the movie has become very popular.

“Being dubbed “worst ever” was the probably the best thing that ever happened to this film,” said Greg Passmore, president of PassmoreLab. “That label started a cult following, where it gained a massive fan base, with me included. It may be known as the “worst movie”, but it’s about to get best conversion treatment available. I am delighted to convert the original film into 3D using our proprietary technology.”

As campy as it is, “Plan 9” is now widely considered to be legendary B-movie director Ed Wood’s masterpiece, albeit a bad one. Both he and the film gained more notoriety after they became the subject of Tim Burton’s 1994 film “Ed Wood”, with Johnny Depp starring in an angora sweater in the title role.

“Our studio has a definite indie feel to it – a little alternative and off-center — and we are absolutely drawn to cool and unusual projects,” continued Passmore. “That was a big reason we converted Romero’s ‘Night of the Living Dead’ last year. And that’s exactly why we are converting ‘Plan 9’, because we love cult films, and we take great care with them.”

“Plan 9 from Outer Space”, was written, produced, directed and edited by Wood, and was originally shot in black and white over 50 years ago. It was restored and colorized by Legend Films in 2006, and will now be converted, frame by frame into full 3D, using Passmorelab’s proprietary conversion technology. It is Legend Film’s colorized version that is being used for the conversion, which will take over 6 weeks to complete at a cost far greater than the film’s original $60,000 production budget.

“Converting film demands great attention to detail, especially with a film this old. Rest assured, audiences will be able to enjoy the same film they have always known — complete with the 73 or so production flubs — except now they will see those wires, strings and wobbly flying saucers in spectacular 3D,” smiles Passmore.

3D conversion is emerging as an incredible opportunity for content owners worldwide, and by employing PassmoreLab’s proprietary technology, it can become a very cost-effective way of repurposing previously viewed material.

“3D continues to penetrate new distribution channels as an industry, and conversion is a big part of our business. All the great films we love in 2D can now be converted into 3D seamlessly to attract new audiences and find new revenue streams,” said Steve Glum, PassmoreLab’s head of Branding & Distribution. “Plan 9 from Outer Space, Now in 3D!” is the original film, the granddaddy of all bad movies, and we think audiences everywhere will have a great time seeing it in 3D.”

“Plan 9 from Outer Space, Now in 3D!” will be seen in select US theatres in limited release and on VOD on various network locations later this summer.

According to Charles E. Sellier, founder and CEO of Grizzly Adams Productions, when completed, the estimated seven-year, $200 million project “will create the largest 3D library in the entertainment industry.”

In addition to converting its existing 2D library to 3D, PassmoreLab, the state-of-the-art multi-media 3D production studio specializing in the conversion of two-dimensional motion pictures into 3D entertainment experiences, will convert Grizzly Adams’ new productions to be completed—18 new 3D feature films and 78 3D television series episodes—over the seven year term of the agreement.

Named after its long-running NBC Network TV series The Life and Times of Grizzly Adams, Grizzly Adams Productions has been a leading producer of family friendly and faith-based independent movies, documentaries, and television specials and series for the past three decades.

PassmoreLab’s proprietary technology for 2D to 3D video and film conversion is unmatched in the industry, in both turnaround times and conversion costs.  Their existing library of 3D content is already considered to be the largest in the world, with hundreds of television shows, films, documentaries, videos and animation titles.

Plans to Dominate 3D Market

David Balsiger, senior producer and vice-president at Grizzly Adams, notes, “At the end of the seven year agreement with PassmoreLab, we project that we will have the largest 3D library available for retail, the most 3D TV programs available for licensing, and, we will have captured major shares of both the family and faith 3D markets.” Approximately 20 percent of the Grizzly Adams library is described as faith-based.

According to Greg Passmore, President of PassmoreLab, his company has arranged funding of the $200 million conversion project and has ramped up capacity to convert as many as 75 to 100 Grizzly Adams titles per year.

“We have dramatically increased our conversion pipeline bandwidth.  Once the conversion on each title is completed, we’ll be in a position to be able to release them into the marketplace at a rate of about one title per week,” predicts Passmore, “This will be very good news for the distributors of the world seeking large libraries of 3D content.”

Perfect Market Positioning

Passmore observes, “We are being very aggressive here, and Grizzly Adams has completely embraced 3D technology. There are other studios and companies out there with large libraries, but they face many hurdles to convert even a few titles to 3D. For example, since the industry considers any resulting 3D title as a derivative product, there are contractual restrictions regarding director approvals, talent and music residuals, plus complex financing issues. All of this adds up to a disincentive to convert back list titles into 3D.”

“We own all of our films and television series outright,” explains Balsiger. “Our library is ideal for converting shows and filling the retail pipeline quickly with quality product while demand is high and supply is extremely low.”

3D Future in TV Broadcasting

“Artistically, films have become more and more sophisticated over the past century,” notes Sellier. “There have been only a few game changing technological milestone events that have dramatically altered the culture of movies. In the late 1920’s, synchronized sound made talkies possible. With the advent of single strip film stock, full color feature films became the standard in the early 1950’s. The industry is now realizing that this new 3D technology is the next significant change in how we enjoy cinematic experiences across a broad range of media.”

Passmore adds, “Internationally, there’s every indication that 3D will be the standard from this point forward in movie theaters, on broadcast television, and across all video delivery systems.  Our strategy is to be completely ready to take full advantage of that by having a large 3D-ready library available for licensing.”

If there ever was any doubt that 3D is the future of the home video market, those arguments were laid to rest this past week when electronics giant, Panasonic, reported that its stock of 3D HDTVs selling at about $3,300 per set had completely sold out within days of the products hitting retail outlets. While some of that lighting quick sellout can be attributed to eager early adopters, Panasonic’s experience suggests that consumers are simply ready for cutting-edge 3D technology in their homes.

According to U.K.-based research firm Futuresource Consulting, the portion of U.S. households that will have a 3D television set in four years will rise to 45 percent from four percent this year.

3D Television Ahead of Available Programs

“This is reminiscent of the advent of color television in the 1960’s,” explains Grizzly Adams’ Sellier. “The technology was available long before sufficient content existed to supply the networks. It’s apparent today that the audience is all set to embrace 3D television, but there is unfortunately a short supply of product to satisfy that appetite.”

To illustrate this scarcity, Sellier points to industry data from Bloomberg.com predicting 4.2 million 3D-capable television sets will be shipped this year, while only five 3D movie titles are currently on the shelves in retail outlets.

Converting 2D to 3D Will Be The New Trend

Although box office blockbuster, Avatar, was shot in 3D, converting a 2D film to a 3D film appeals to several leading filmmakers. For example, Tim Burton shot the recently released Disney remake of Alice in Wonderland with traditional 2D digital cameras and then converted the footage to 3D.

Passmorelab is uniquely positioned to leverage this emerging conversion market, not only because of their proprietary conversion expertise, but also because the Grizzly Adam’s pact will add a significant number of titles to their already exceptionally large library of 3D content.

Passmore observes, “Filmmakers have long been fascinated with the illusion of depth and the prospect of creating three dimensional images in a two dimensional medium. 3D science has finally caught up with artistic vision, as today’s 3D experiences are exceptionally enjoyable, whether you are in a theatre or in your home.”

Grizzly Adams/PassmoreLab to Roll Out Two 3D Releases Now

The masters are already available for the 3D Blu-Ray and VOD (Video On Demand) versions of The Fabric of Time, Grizzly Adams award winning television special about the Shroud of Turin, long believed to be the burial cloth of Christ. This is Grizzly Adams’ first 3D evergreen entry into the faith market that will crossover well onto secular retail shelves for Easter sales.

Within the next six weeks, the highly acclaimed feature film, Friends for Life, will be released in 3D. This family friendly motion picture with wolves and a bad grizzly bear has been recognized by festivals and competitions with 30 film awards for production excellence.

The first new 3D television series for the joint Grizzly Adams-PassmoreLab production pact will be a fifty-two episode series about George Washington, culminating with a feature length theatrical picture.

Among the eighteen new 3D feature film projects slated for production over the seven year term of the alliance are two Grizzly Adams family-oriented feature films currently in pre-production: The Super Heroic Life of Edward Hinkleberry; and the newest franchise installment to the Grizzly Adams legend, Grizzly Adams Begins.

For the duration of the seven-year agreement, Grizzly Adams will oversee all worldwide television broadcast and DVD licensing for the 3D productions. PassmoreLab will take the lead role in theatrical distribution.

Cinema Technology Veterans Brian Kercher and Andrew Lee Lead Efforts Out of UK’s Pinewood Studios

Burbank, CA (May 10, 2010) – 3D company MasterImage 3D, LLC has expanded its operations with the opening today of its European office. Located in the UK’s legendary Pinewood Studios, the new office serves the fast-growing number of theaters adopting MasterImage’s 3D digital cinema systems across Europe and will help drive adoption of its auto-stereoscopic 3D display systems. Cinema technology veterans Brian Kercher, newly named managing director of 3D cinema, MasterImage 3D Europe, and Andrew Lee, director of sales engineering, are leading the company’s European operations.

MasterImage provides 3D solutions for cinemas, flat panel displays for televisions and mobile devices, and cameras. In the past six months MasterImage has doubled its theatrical market share, with more than 1,600 systems installed worldwide (over 500 of them in Europe). All six major Hollywood studios, along with independent distributors, support the MasterImage format for their 3D features. In 2009 the company also commercialized the world’s first glasses-free 3D mobile device, the Hitachi Wooo.

“When I encountered MasterImage’s technology I was struck by the opportunity,” said Kercher. “The company had an incredibly strong offering and a significant opportunity for growth in Europe. The quality of the MasterImage 3D presentation is unrivaled, and it has a cost of ownership that cannot be matched by 3D technology that uses expensive glasses or an endless ‘seat tax’ business model. Plus, MasterImage works through local integrators that cinemas already know and trust. With our full support and service organization now based in Europe together with our local integration partners, MasterImage is well positioned to bring beautiful 3D digital images to audiences in every corner of the region.”

Kercher joins MasterImage from Eastman Kodak, where he was general manager of the company’s digital cinema business. In his fifteen-year tenure with Kodak Kercher held executive and sales roles, most recently developing the company’s digital cinema business in EMEAR. Kercher also developed new market customer bases for Quantel and Hi-Q Systems, and has been a member of the Board of Directors of Cinesite Europe since 2004.

Andrew Lee heads technical operations of MasterImage 3D Europe. He has been with the company since 2009 and was most recently vice president of cinema technology. Lee relocates to the UK from Toronto. A twenty year veteran of the 3D motion picture presentation industry, Lee built his expertise at IMAX, where he spent fourteen years developing 3D glasses and 3D camera and presentation technology. He is recognized as an industry expert in 3D screen technology and manufacturing techniques. Lee has also held senior level R&D roles at MDI and Franklin Designs International.

Said MasterImage CEO Younghoon Lee, “We have been quietly developing and delivering 3D solutions since 2004 for an emerging 3D market, to the point where we are now providing the highest quality 3D experience from cinemas to cell phones. With Brian’s and Andrew’s experience and leadership, our European operation will help us to meet the demands of our growing customer base and deliver 3D images to a worldwide market hungry for 3D content and the means to view it.”

About MasterImage 3D, LLC
MasterImage 3D, LLC is a stereoscopic 3D technology company that provides pioneering 3D solutions for theaters, television and handheld devices. With more than 1,600 theatre systems installed worldwide, MasterImage offers audiences the best 3D image experience, while providing exhibitors with a compelling ownership-based pricing model. The company’s auto-stereoscopic (glasses-free), 3D LCD technology for mobile and electronic devices are the first commercial displays of their kind, and the company’s 3D camera ASIC empowers dual camera-equipped devices that enable users to create and share 3D content. The company is gearing up to deploy millions of auto-stereoscopic units with multiple manufactures worldwide. Founded in 2004, MasterImage was recently acquired and capitalized by US-based Symphony 3D Holdings and is headquartered in Burbank, California.

The 3D Gaming Summit™ is a high strategy networking event exploring how video games aided by new technologies, such as stereoscopic 3D, are bridging the gap between interactive and linear entertainment.
“The 3D Gaming Summit™ will bring together some of the finest minds in interactive and traditional media,” says veteran gaming journalist Gaudiosi. “Videogames are a key driver, along with Blu-ray 3D, in convincing first early adopters and then mainstream consumers to upgrade their HD home entertainment centers into 3D HD experiences. Our conference speakers will address how the entertainment and gaming sectors can capitalize on these new trends.”

3D Gaming Summit™ is the newest addition to the 3D Entertainment Series of events produced by Unicomm, LLC in association with Variety. Bringing together the most prestigious group of professionals, the 3D Gaming Summit’s™ unique environment will enable attendees to engage, debate and define the latest developments in the gaming and entertainment marketplace. With an unprecedented group of opinion leaders, the summit will define the opportunities and strategic options presented by 3D stereoscopic gaming.

S3D Technologies will be presenting the S3D Beam Splitter Rig at the show, revealing high-end quality, functionality and design, which significantly facilitates the shooting of live stereoscopic 3D images.

The new rig offers the perfect balance between stability, rigidity and weight. It is suitable for film and digital cameras with lenses of up to 114 mm diameter and a 16 mm focal length. It possesses a state-of-the-art camera release system, which allows the operator to remove and fix cameras efficiently and fast. In addition, the operating temperatures of its electronic components range from -40ºC to 80ºC (-40ºF to 176ºF) which makes filming in a variety of locations and climates a practical possibility.

S3D Technologies is also introducing the S3D Calculator at NAB this year, which is an essential tool when shooting stereo 3D as the software enables the exact configurations of stereoscopic parameters to be sourced, based on the conditions of the set and its desired effects.

S3D Technologies is looking ahead with the development of S3D Plug-ins and the S3D Converter. The S3D Plug-ins, will be an indispensable tool to contribute to future stereo 3D projects as they also integrate the S3D Calculator’s features, allowing the user the direct import and export from production set-up parameters. S3D Converter converts footage from 2D to 3D effortlessly and will be released later in 2010.

SGO will be unveiling Mistika Version 5.0 at NAB, revealing one of the most significant software releases to date, with a brand new interface for maximum user acceptability as well as a set of stunning new stereoscopic 3D and 2D tools.

SGO is also in partnership with projectiondesign™ (http://www.projectiondesign.com/), who will be providing rigs and projectors at the show.

To enjoy an exclusive viewing of the immense power of the software and to reserve a place to view Mistika and S3D’s products, please contact SGO at marketing@sgo.es and s3d@s3dtechnologies.com for a private demonstration of one of the industry’s most advanced post production systems.

About S3D Technologies:

The company focuses on the research and development of technology to produce stereoscopic 3D films. S3D Technologies offers a diverse range of services related to stereoscopic production taking always into account the needs and specific requirements of its clients. 3D Technologies can advise you on every aspect of your stereo 3D project, be it animation or live action, from the early stages of design and development up to the very final stages. www.s3dtechnologies.com

http://digitaldomain.wiredrive.com/r/p/?presentation=d976a1ba0fb0732a8e849c8

12d05788c (please cut and paste this link directly into your browser).

For the campaign, Digital Domain leveraged its historical expertise working
with the S3D format, which dates back to the late 1990s when the studio
produced a 3D Terminator theme park ride film. Today Digital Domain is in
production on “Tron: Legacy,” one of the largest S3D feature films
currently in production in Hollywood.

“The enormous success of recent 3D movies and anticipation for upcoming
tentpoles like ‘Tron: Legacy’ has created huge opportunities for
manufacturers, broadcasters, marketers and producers,” said Digital Domain
Commercials Division President and Executive Producer Ed Ulbrich. “In
creating 3D advertising, one of the biggest challenges is finding
experienced crews to take these projects from concept to completion at the
highest level. When you factor in the urgency of commercial production it
adds another layer of complexity and a fair amount of managing expectations
and educating both the ad agencies and the client. The value Digital Domain
brings to the table is that we have one of the most sophisticated S3D
pipelines in the business and we’re able to take the infrastructure,
experience and knowledge we’ve developed on huge 3D movies, and offer that
to ad agencies and advertisers.”

The :30 “Wonder-full,” the first spot to premiere in cinemas, opens on a
family visiting an aquarium. The father touches his index finger to the
fishtank glass and traces a large rectangle before popping out a sizable
chunk of the aquarium’s contents — all of it created digitally by Digital
Domain, including colorful tropical fish and a giant sting ray. The family
straps this liquid cube to the car and transports it home, where it’s
inserted into the Samsung LED 3D TV on the mantle, allowing the family to
experience life in another dimension as a school of CG fish fly out of the
set and towards the audience.

Digital Domain VFX Supervisor Jay Barton joined the creative team early in
the design process to consult closely with directing duo TWiN and Leo
Burnett on the S3D process and pulling together an experienced crew of
people.

“Because these Samsung ads will be seen at point-of-sale in addition to
premiering in cinemas, it was even more crucial that the visuals be
beautiful, attention-getting and really highlighted the Samsung 3D LED TV,”
said Digital Domain Visual Effects Supervisor Jay Barton. “When you’re at
the retail location making your purchase decision among several options,
what you see first is picture quality. The visuals are often the
differentiating factor. To achieve that quality we applied the same ‘Rolls
Royce’ approach for the Samsung campaign that we use on a movie like ‘Tron:
Legacy.’ Leo Burnett brought together the A-team to work on this campaign,
and that really shows in the result.”

In addition to “Wonder-Full,” Digital Domain worked on a second 3D cinema
spot titled “Monsters & Aliens Invade Home,” which features the characters
from DreamWorks’ “Monsters Vs. Aliens.” Barton and his team also
contributed visual effects and animation to two other spots in the Samsung
campaign, which aired in 2D on television and premiered during the Academy
Awards.

About Digital Domain
Digital Domain is an Academy Award©-winning digital production studio
focused on visual effects for feature film and advertising production.
Founded in 1993, the company has built a legacy of achievement, listing
Titanic, 2012, and The Curious Case of Benjamin Button among its 75+ film
credits. A creative giant in advertising, Digital Domain has created some
of the world’s most memorable spots. The studio works with top directors
including Michael Bay, Rob Cohen, Clint Eastwood, David Fincher, Joseph
Kosinski, Mark Romanek, the Wachowskis and more. Digital Domain is
continually pushing into new territory and is being recognized for its
pioneering work in photo-real digital humans and productions that bring the
worlds of movies, games, advertising and the web closer together. Digital
Domain is privately held and based in Venice, California.
www.digitaldomain.com

The film, shot on RED cameras in high-definition 3D, and using PassmoreLabʼs proprietary 3D rigs and stereo synthesis conversion, follows two professional female surfers as they surf Hawaii’s North Shore and famous beaches along California’s coast, exploring surfing’s influence on modern culture while experiencing Mother Nature’s majestic power in the creation of our ocean’s waves.

PassmoreLab’s passion for science-based adventure content, coupled with the studio’s willingness to travel to far-off destinations to tell nature’s astounding stories, is evident in Physics of Surfing, and is also revealed in the incredible cinematography of their two new forthcoming Digital 3D films – The Extreme Nature of Bats and MicroWorlds – due to be released this spring.

It is Greg Passmore’s penchant for challenging locations and rugged production that sets Physics of Surfing apart from other surfing films.  As the newest addition to the rich history of surf cinema, Physics of Surfing showcases magnificent scenery and spectacular surfing action, while illustrating the principles of physics, as well as surfing’s spirit, history and culture.

“Locations have their own unique conditions, and we have become very comfortable shooting in demanding environments,” said Greg Passmore, president of PassmoreLab and director of the film.  “To get the completely immersive 3D surfing experience that I was looking for in this film, we had to go where the waves were and then become really inventive to get the shots.”

Pro Surfers Julie Cox and Kyla Langen, the two featured surfers in the film, are both longtime surfing competitors and aficionados.  Cox, a talented longboarder who has competed in contests around the globe, consistently places in the top 10 of international events held in Australia, New Zealand, and Japan.  Langen has surfed professionally in over twenty countries and works with the Cousteau Foundation’s CELP program as a youth instructor.  Both women are also surf coaches.

Unlike other surfing documentaries, Physics of Surfing is an educational film that uncovers the physical science of ocean waves and the art of surfing.  In this captivating presentation, the filmmakers explore how energy moves through water, building and combining its force, traveling thousands of miles over the course of weeks until the ocean floor underneath disrupts the wave’s formation and causes it to pitch up and collapse.  The film also investigates the science behind various surfing styles and how surfers instinctively address such notions of gravity and buoyancy while using the energy of motion to ride waves.

Audiences will experience the exhilaration of surfing, while learning how surfers play with nature’s purest form of energy and power.  They will even see how the modern technology of surfboard design affects a board’s performance on the wave.

The musical legacy of surfing is also a rich and exciting element of surf culture and Physics of Surfing honors this with a truly inspired soundtrack.  Produced by Dusty Watson, it includes tracks from instrumental surf-rock mainstays Slacktone and Southern California’s legendary skate-punk band Agent Orange.  Since the late 70s, Agent Orange has had an enormous influence on the skate-punk/surf-rock scene and Slacktone are widely regarded as the greatest exponents of the genre.  Rounding out the musical lineup is punk supergroup Osaka Popstar – the standard bearers of old-school punk in the 21st century – featuring members of the Ramones, the Misfits, and Black Flag.

PassmoreLab’s Physics of Surfing is scheduled for release to Science Centers and Museums in April.

About PassmoreLab
PassmoreLab, the “World’s Largest 3D Content Provider”, is a San Diego-based multi-media production studio that specializes in 3D production.  The studio custom-designs and builds its own RED camera 3D rigs for both conventional and rugged film productions, shooting everything from feature films, television and science documentaries, to underwater diving, extreme sports and cave exploration http://www.passmorelab.com/PL2minTRAILER.mov.  State-of-the-art facilities include a full 3D production studio, video/film post-production, optical development lab, and a software development environment.  Production includes 2D, 3D, high dynamic range time lapse, stereoscopic microscopy and cutting-edge simulation technologies for real time SFX.  PassmoreLab has additional offices in Russia and the Philippines.  For more information, visit www.passmorelab.com.

LG is introducing six new LED LCD series in all: the Infinia LE9500, LE8500 and LE7500, along with the LE5500, LE5400, and LE5300. All of the series are 1080p, with the exception of the LE5300 models under 32″, and most come equipped with NetCast Entertainment Access, LG’s connectivity suite that’s been upgraded this year to include Skype and DivX TV. The LE9500 has an ambitious refresh rate of 480Hz, the LE8500 at 240Hz, and the rest of the lineup sits at a more conventional 120Hz.

For those who aren’t ready to make the jump to LED yet, LG is also refreshing its CCFL LCD line with five new series that also feature 1080p and refresh rates of up to 240Hz.

LG has announced pricing yet on either the LED or LCD sets, but they should be hitting retailers this spring/summer.

Source: Gizmodo