News Stories

3D Shaken, Not Stirred (Editorial on 3D from the informed gamer perspective)

[Philip Lelyveld comment: the author, Neil Schneider, runs a 3D Gamer information website (www.mtbs3d.com) and advocacy organization (www.s3dga.com)]

[Excerpts]

It seems that 3D has been making the headlines for all the wrong reasons again!  On one hand, 3D is giving people headaches.  On the other, products are getting pulled from store shelves due to customer complaints.  Watching the stock prices, you’d think that Chicken Little in 3D had come to life, and the sky was falling!  I’d like to take this opportunity to put things in perspective, because 3D isn’t to blame for the world’s ills. …

… The 3DS’ problem has nothing to do with 3D, it has nothing to do with price, and it definitely has nothing to do with getting pulled from store shelves.  The issue is that its content offering is extremely weak.  The existing games are lackluster in 2D AND 3D.  I’m all for criticizing a product, but the Nintendo 3DS is not being slammed for the right reasons! …

… However, Electronic Arts has a lot to be proud of in the 3D space.  For example, they are a partner company in a government research initiative that is determining best practices in effective S-3D game design via university research.  They have also done some excellent work getting their games optimized to work with certain S-3D driver developers on PC on a case by case basis.  …

… DisplaySearch expects 100 million 3D HDTVs to be sold by 2014 based on the expectation that 3D will be a standardized feature, and that this represents 50% of all HDTV sales revenue.  So unless you believe that HDTVs will cease to be sold in stores, 3D is very much here to stay, and it’s up to the content makers to determine whether or not the 3D functionality will be used.  I think it will. …

…  When 3D movies started to grow popular, they were based on native dual camera setups or true stereoscopic 3D animation.  Unfortunately, as a reaction to the press, movies have grown modest with their depth settings to the point that the image doesn’t look doubled with the naked eye – it just looks blurred.  More than that, what used to be carefully crafted 3D movies based on true stereoscopic 3D rendering have become modest 2D/3D conversions that are truly lackluster compared to what made this industry popular in the first place.  It really is a troubling situation because customers have been trained to expect these boring experiences – and that’s not what 3D is about.  …

… With all the sarcasm, sucker punches, misinformation, and terrible press working against 3D – I’m just amazed that there are so few industry members that take the time to represent and credibly defend the technology.  While I serve as Executive Director for The S-3D Gaming Alliance, there are other organizations that feature scores of members in 3D cinema, broadcasting, and electronics.  Given all the passion and investment that launched modern 3D entertainment, I think the industry really needs to stand up for itself. …

Read the full article here: http://www.gamasutra.com/blogs/NeilSchneider/20110729/8090/3D_Shaken_Not_Stirred.php

X Games Live: ESPN Kicks “5D” Approach Up a Notch

 

[Submitted by Bryan Burns]

[Excerpts]

X Games has always been known as a breeding ground for technology and innovation, so it comes as no surprise that that the 17th incarnation of Summer X will serve as the most unique, grand-scale production yet for ESPN 3D. The network is taking its “5D” approach (2D-3D unilateral production using a single mobile unit) to the next level, producing all events at the Staples Center using a 3D truck and 3D rigs that supply the left eye feed for the 2D telecast.

“We’re doing the 5D coverage for everything at Staples Center, meaning there are basically no 2D cameras at all,” says ESPN 3D and X Games Coordinating Producer Phil Orlins. “In our 3D world right now, everything is firing appropriately, which is all we can ask for.”

In addition to Staples, ESPN 3D will cover several events at all three venues of the other venues at X Games – the Nokia Theater, the Street & Park Event Deck, and Lot 7. ESPN 3D is deploying 18 3D rigs to produce 21 hours of live coverage, making it the largest and most comprehensive event to date for the one-year-old network. …

Read the full story here: http://sportsvideo.org/main/blog/2011/07/29/29955/

Related stories:

X Games Live: ESPN Accelerates “5D” Approach

X Games: Extreme Technology for Extreme Event

X Games: L.A. Live, Staples Center Get Exclusive

X Games: Fletcher Sports Masters Extreme Slo Mo

Highlights from SVG’s Trade Mission to Brazil

ESPN’s NASCAR Coverage Shifts to Brickyard

 

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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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