News Stories

State Police 3D scanner captures crime scenes

[By DENA POTTER, Associated Press]

The investigator presses a button and a 3D image of two bodies on a front lawn pops up on the screen. He scrolls to the left and can see nearly 1,000 feet down the street, even though the scan was taken in total darkness. He scrolls on around and checks out a couple SUVs parked in the driveway.

With a few clicks, he can measure how far a body is from a light pole, isolate the basketball goal in the driveway to check it for bullet holes or arrange the view to check if the witness really could have seen the murder from the window in a house down the street.

It’s not a scene from the latest CSI show. It’s Virginia State Police’s newest investigative tool, and Lt. Joe Rader is showing a group of special agents how it works. The “bodies” are two family members he posed on the lawn.

Police have always documented crime scenes through photographs and meticulous measurements, but the agency’s newest gadget allows investigators to make instantaneous and permanent documentation of an entire crime scene like never before. It’s not a picture, but a high-definition, 360-degree scan that is accurate to within a quarter of an inch.

State Police Superintendent Col. W. Steven Flaherty said the laser scanner is “revolutionizing the documentation of crime scenes.”

“This technology practically stops time,” Flaherty said. “It allows investigators and prosecutors to come back days, weeks, and even years later to evaluate and examine a crime scene in exact detail as the crime scene originally appeared.”

The machine, a ScanStation C10, uses a high-speed laser and a built-in digital camera to capture a scene. The scanner measures 50,000 points per second – or 3 million measurements per minute – and completely digitizes the crime scene.

“If you took 1,000 measurements, we’re going to get 3 million,” Rader told the special agents.

It produces a 3D model that is uploaded, and investigators can take measurements, isolate items for in-depth review or put in the height of the witness or suspect to see exactly what they saw at the scene.

While the scanners have been used in high-end engineering for several years, more and more law enforcement agencies are starting to use them, said Tony Grissim, who handles public safety and forensic accounts for Leica Geosystems, which makes the C10. Still, he said fewer than 100 police agencies nationwide have laser scanners.

They’re also starting to show up in courtrooms as a way to place jurors in the middle of a crime scene. Scan data has been used in more than 100 cases nationwide, Grissim said.

The technology negates the so-called CSI Effect, where jurors expect sophisticated technology shown on popular forensic-themed television shows, he said.

“For the past 20 years these dramatic shows have been on television inventing forensic technology that doesn’t exist,” he said. “So jurors … come to court with these TV shows in their brain and they want to see something that’s cool.”

Grissim said defense attorneys also are starting to use the scans. In the future, pictures and floor plans on easels aren’t going to cut in it court.

“In five years if a cop shows up in court and he’s got a sketch that he did with pocket tape and then the defense shows up and they’ve got an exhibit that was created from scan data, the prosecutor’s going to get his lunch handed to him,” Grissim said.

The scans haven’t been used in Virginia courts yet, but likely will soon, Rader said.

State Police are the only Virginia agency that has a laser scanner. It used asset forfeiture money to cover the $220,000 cost, which included training, licensure, software and accessories.

“Equipment isn’t cheap,” Rader said, but “it really comes out to what you get versus what you pay for.”

The agency got the scanner in September, and Rader is one of eight investigators statewide trained to use it. They’ve used it to document more than a dozen crime scenes. It has been used to document the area around the University of Virginia where Morgan Harrington disappeared and the field where her body was found, a mid-air collision and the Vansant scene in March where a man killed two deputies and injured two others before being shot by police.

“It opens up the doors for investigators, prosecutors and potential jurors to see the scene as it truly was during the investigation,” he said. “Really, there is no limit to what this machine can be used for.”

See the original post here:  http://www2.wsls.com/news/2011/apr/30/state-police-3d-scanner-captures-crime-scenes-ar-1005746/

Trailer for Takashi Miike’s 3D Cannes Entry, ‘Hara-Kiri: Death of a Samurai’

[BY: BRAD BREVET, Rope of Silicon . com]

This year two films will be presented in 3D at Cannes, one is Disney’s Pirates of the Caribbean: On Stranger Tides, but the other, more fascinating film will be Takashi Miike’s Hara-Kiri: Death of a Samurai (Ichimei), a remake of the 1962 feature directed by Masaki Kobayashi based on the novel by Yasuhiko Takiguchi.

Today an international trailer for the Cannes competition title has arrived via the film’s official site.

The story is set during the 17th century and centers on Hanshiro (played by Ebizo Ichikawa), an honorable, poverty-stricken samurai seeking a noble end as he requests to commit ritual suicide at the House of Ii, run by headstrong Kageyu (played by Koji Yakusho). Trying to dismiss Hanshiro’s demand, Kageyu recounts the tragic story of a similar recent plea from young ronin Motome (played by Eita). Hanshiro is shocked by the horrifying details of Motome’s fate, but remains true to his decision to die with honor. At the moment of the hara-kiri, Hanshiro makes a last request to be assisted by Kageyu’s samurai, who are coincidentally absent. Suspicious and outraged, Kageyu demands an explanation. Hanshiro confesses his bond to Motome, and tells the bittersweet tale of their lives. Kageyu will soon realize that Hanshiro has set in motion a tense showdown of vengeance against his house.

This weekend Miike’s latest film, 13 Assassins, hit limited theaters. It’s said to be the most audience friendly of the director’s career and unfortunately I have not yet seen it yet, though I was considering making that my morning project. It still hasn’t screened here in Seattle and doesn’t arrive here until May 20, which at that time I will be in Cannes and will have missed it, so I will definitely have to check it out via On Demand before I leave for France next Monday. From what I’ve been told, it’s worth it.

As for Hara-Kiri, I won’t have to wait. I’ll be on hand in Cannes with my 3D glasses in Cannes’ Grand Theatre Lumière… It should be quite an event, and to give you a taste, here’s the international trailer.

See the original post here:  http://www.ropeofsilicon.com/article/trailer-takashi-miikes-3d-cannes-entry-hara-kiri-death-samurai

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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.

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