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SMPTE 2012 Annual Technical Conference To Showcase Foundational Scientific, Technology, Standards Advances For Digital Media Ecosystem

Calling it one of the strongest class of submissions in recent history, the Society of Motion Picture & Television Engineers (SMPTE), the worldwide leader in motion-imaging standards and education for the media, entertainment, communications, and technology industries, today previewed the presentation lineup for the SMPTE 2012 Annual Technical Conference & Exhibition. From A/V-specific improvements in IP-based workflows and smart cloud migration strategies to critical advances in digital cinema, post production, online captioning, and surround-sound audio, they underscore the key scientific, technology, and standards efforts poised to fundamentally advance the state of today’s digital media ecosystem.

See more information, plus the link to register for the conference, here: www.smpte2012.org

Crisis slams Hollywood in Southern Europe: 3D fires up Germany; local fare boosts France, U.K.

[Chicago Tribune / Variety]

Hollywood may be buoyant in Germany and solid in France — but it’s hurting in southern Europe.

Drawing a distinct north-south divide, full year 2011 figures for most of Europe’s Big Five countries raise a clear question: Are U.S. 3D films, whose premium ticket prices are driving box office hikes in the north of the continent, too costly for cash-cautious families in the south?

German B.O. grew 3.8% in 2011 to $1.17 billion, thanks largely to 3D perfs of “Harry Potter and the Deathly Hallows, Part 2″ ($74.1 million) and “Pirates of the Caribbean: On Stranger Tides”($57 million), plus German comedy hit “Kokowaah” ($39.3 million). Eight out of Germany’s top 10 films were Hollywood fare.

France smashed all-time records in 2011. Tix sales rose 4.2% to 216 million, repping around $1.9 billion.

Goosed by a 2.5% rise in value added tax, 2011 UK BO is nearly 4% up on 2010 at around £1.1 billion ($1.7 billion).

In France and U.K., local fare — French comedies “Intouchables” ($138.7 million) and “Nothing to Declare” ($67 million); in Blighty “The Inbetweeners” ($73.4 million), “The King’s Speech” ($71.7 million) and U.K.-U.S. hybrid “Hallows, Part 2” ($118.6 million) — largely explain B.O. spikes.

“U.K. cinema has had a really buoyant year,” said Film Distributors’ Assn. CEO Mark Batey. “Local product last year has just performed out of its skin. U.K. cinemagoing has proved to be resistant to the recession.”

Italy and Spain hardly invite such optimism, with Hollywood losing significant traction.

Italy is tracking for a 10% drop on 2010’s $947 million B.O. — U.S. movie market share has plummeted from 60% to 48% while local pics reached a whopping 40%.

Clunkers in Italy in 2011 included 3D movies “Tintin” ($4.7 million) and “The Lion King” release ($5.1 million).

Total Spanish B.O. fell 2.7% last year as Hollywood perf plunged. Three U.S. blockbusters grossed north of $26 million in 2010, none in 2011.

Driven by 3D pricing, average Spanish tix prices have risen 35% since 2004 to $8.70. This discourages family film attendance, said a source at Spain’s Acec cinema circuit.

Even in Germany, Cinemaxx’s Arne Schmidt said, “The market is already partly flooded with 3D. We had ‘The Smurfs,’ ‘Kung Fu Panda 2,’ ‘Cars 2’ and ‘Rio’ very close together. It was just too much.”

The lesson for 2012? 3D hasn’t morphed from B.O. panacea to poison but it may be proving too pricey for many cash-strapped Europeans.

Read the full story here: http://www.chicagotribune.com/entertainment/sns-201201051659reedbusivarietynvr1118048144jan05,0,1654298.story

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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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