News Stories

3D scanners ‘will cut crash delay times’

[Luton Today]

NEW technology that allows police to take a 3D image of a motorway crash scene is coming to Bedfordshire.

It is estimated the closure time will be cut by almost 40 minutes, as a 3D image of the site can quickly be created, rather than investigators painstakingly surveying multiple sections of the scene.

This digital image of the site can then be viewed on a computer screen remotely, allowing investigators to take measurements of where vehicles are in relation to each other and examine other important evidence.

In partnership with Hertfordshire Constabulary, Beds Police will receive £158,270, which will pay for two scanners.

Read the full story here: http://www.lutontoday.co.uk/news/local/3d_scanners_will_cut_crash_delay_times_1_3374492

'Hugo's' Ben Kingsley: 'I Can't Act in 3D'

[Reuters]

In many ways, we think of 3D as just another special effect. But “Hugo” doesn’t treat it like that at all. It uses 3D to say, “Come into this space where our story is happening.”

Yes, absolutely. Absolutely. Marty does bring you into the world, and he uses 3D to surround you with that world: the railway station and the toy shop and the apartment and the little hole in the wall where Asa lives. He pushed 3D round a very important corner, I think.  He’s done it.

Did shooting in 3D change how you did your work?

Yes. Every gesture you make has to be linked directly to the narrative. Nothing can be arbitrary. Nothing can be explained. I learnt a long time ago, you must never explain anything to the camera, because it doesn’t need it.  All it needs is to see the behavior of the character. It doesn’t want to see any acting. The camera is allergic to acting, it hates it. But the 3D camera has such x-ray capacity that you almost have to modify your acting to a terrifying degree.

Read the full story here: http://www.reuters.com/article/2011/12/30/idUS321792856920111230

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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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