News Stories

ISO Vote on 3D Safety Guidelines Closes Nov. 7


…  ISO (International Organization for Standardization) is closing a ballot on drafting 3D safety guidelines on November 7. Information on these guidelines can be downloaded here.  …

Hiroyasu Ujike, a researcher at National Institute of Advanced Industrial Science and Technology (AIST), is leading the efforts with the ISO. In an email exchange with him, he noted that, “Based on discussions in the WG, I would like to find out and build a common framework for 3D Image Safety, and sharing it as “international guidelines.”

Potential areas of discussion include:

  1. Interocular difference of images, as optical stimuli, in terms of geometrical distortions, luminance, etc.
  2. Binocular parallax and disparity
  3. Enhancement of 2D problems by the stereoscopic presentation
  4. Temporal changes in the above items
  5. Viewing environment and viewing conditions

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"Phantom of the Opera" Was Shot in 3D by Accident

[Stereoscopy News]

Carl Hernz, chief stereographer at Carmichael3D (Florida, USA) made a strage discovery while digging old film stock looking for movies to convert in 2D: he discovered that “Phantom of the Opera” was shot with two side-by-side cameras, but NOT to produce a 3D film. The setup was done to produce two original copies of all takes. As one set of copies was used for local distribution and the other for international distribution, the fact that both films were “sligthly different” never bothered anybody.  …

Carl Hernz said : “We had to even ‘invent’ a manner of matching film rate in some instances to make the stereo sequences match. Add to this that the stereo pairs are sometimes reversed, with one reel that generally consists of the left view to suddenly change to offering the right view and then back (even after right after a title card) and vice versa”. …

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Data & Analytics Project

The Storytelling Cipher: Mapping Precise Story and Character Mechanics to Box Office Returns

Our Data & Analytics Project held “The Storytelling Cipher: Mapping Stories & Characters to Box Office Revenue” Tuesday, December 6, 2016 at the USC School of Cinematic Arts.

This study leverages the Dramatic taxonomy of film narrative to infer which scene-level character and story attributes generate more box office returns, by genre. We are extending this study to ads and movie trailers.

The project researchers used machine learning to map 70+ story attributes for 300 films to their box office returns to extract which story mechanics or character features in film generated the most revenue. This was the first time granular story and character mechanics have been used to predict box office returns, which opens up many avenues to make more data-driven creative and development decisions throughout the industry.

What’s a good story? The question has been hanging without a scientific answer since the dawn of man. It seems that a story’s lack of clear mathematical structure and universal taxonomy would relegate such classification of stories to the qualitative – and highly subjective- empire of critics and … people.

Until now.

The event presented results from the research, discussed applications for the development and creative process, and outlined next steps.

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