News Stories

Panasonic Throws its Hat into 3D Prodn. Arena

Panasonic is beginning development of a professional 3D HD production system, including a twin-lens P2 camera and a 3D-compatible HD plasma display. Concept models are at Panasonic’s central hall booth at NAB.

The P2 system is compact and has a non-mechanical solid-state construction.

Panasonic reported that the 3D system will be able to record two channels of full HD images on the P2 card.

The P2’s construction and compactness will also be incorporated into the company’s 3D image recording and editing equipment.

Pansonic hopes this production system will help to accelerate 3D content creation for the theater and home.

NAB Hosts 3D Pavilion

Exhibitors in the 3D Pavillion in the south hall included:

–The 3D@Home Consortium

–3Ality Digital, which is going to being selling its 3D camera rigs, as well as offer filmmakers a 3D production training and certification program

–3DTV Corp., offering 3D production services.

–ETRI, which demoed glasses free 3D on mobile devices.

–Qube Cinema, which highlighted its QubeMaster Pro software for the creation of 3D DCPs.

–American Paper Optics, which makes a variety of 3D paper and plastic 3D glasses, including anaglyphic, polarized, and ColorCode 3D.

< PREVIOUS ARTICLES NEXT ARTICLES >

Specification for Naming VFX Image Sequences Released

ETC’s VFX Working Group has published a specification for best practices naming image sequences such as plates and comps. File naming is an essential tool for organizing the multitude of frames that are inputs and outputs from the VFX process. Prior to the publication of this specification, each organization had its own naming scheme, requiring custom processes for each partner, which often resulted in confusion and miscommunication.

The new ETC@USC specification focuses primarily on sequences of individual images. The initial use case was VFX plates, typically delivered as OpenEXR or DPX files. However, the team soon realized that the same naming conventions can apply to virtually any image sequence. Consequently, the specification was written to handle a wide array of assets and use cases.

To ensure all requirements are represented, the working group included over 2 dozen participants representing studios, VFX houses, tool creators, creatives and others.  The ETC@USC also worked closely with MovieLabs to ensure that the specification could be integrated as part of their 2030 Vision.

A key design criteria for this specification is compatibility with existing practices.  Chair of the VFX working group, Horst Sarubin of Universal Pictures, said: “Our studio is committed to being at the forefront of designing best industry practices to modernize and simplify workflows, and we believe this white paper succeeded in building a new foundation for tools to transfer files in the most efficient manner.”

This specification is compatible with other initiatives such as the Visual Effects Society (VES) Transfer Specifications. “We wanted to make it as seamless as possible for everyone to adopt this specification,” said working group co-chair and ETC@USC’s Erik Weaver. “To ensure all perspectives were represented we created a team of industry experts familiar with the handling of these materials and collaborated with a number of industry groups.”

“Collaboration between MovieLabs and important industry groups like the ETC is critical to implementing the 2030 Vision,” said Craig Seidel, SVP of MovieLabs. “This specification is a key step in defining the foundations for better software-defined workflows. We look forward to continued partnership with the ETC on implementing other critical elements of the 2030 Vision.”

The specification is available online for anyone to use.

Oops, something went wrong.