News Stories

Op-Ed: Facebook, Twitter, and Connected TVs… Oh, my!

Facebook and Twitter had a strong presence at CES … in the form of apps on connected TVs, Blu-ray players, set-top-boxes, and just about any connected device. Samsung even announced that its new connected refrigerator could display your Twitter feed. The popularity of social networks have forced CE manufacturers to include them on their products’ feature specs, irrespective of how appropriate the application truly is. Unfortunately, this knee jerk reaction to include social networks clearly demonstrates the lack of imagination or understanding as to how social networks are really used by people.

Social networks go beyond just being able to see what your friends are saying as you open up the refrigerator. Rather, social networks should be viewed as sources of information that can reveal deep personal connections. Re-imagine the connected refrigerator using social networks to suggest meals that have been successfully cooked by family and friends. Or suggesting new drinks or other edible delights that were just mentioned in a friend’s status update. The key to appropriate usage of social networks is … context. What is the device and how is it being used?

CE companies should realize that the device itself gives the user context and should guide the usage of social networks on the device. True, in the end, CE manufacturers will always pick the lowest hanging fruit first. But as social networks become more ubiquitous, the industry needs to determine what about social networks will help them to differentiate themselves from their competitors. Ultimately it’s not just about adding Facebook, but instead, asking “What can we do using social networks to maximize the appeal/utility of our products for our consumers?”

Adobe AIR supports Connected TVs

AIR (Adobe Integrated Runtime), the popular app development platform for Internet and mobile devices, has extended its reach to include support for connected television.

Adobe announced that Samsung is supporting AIR across their line of Smart TV’s and it is safe to say that you will see other manufacturers follow suit. With over three million Adobe Flash developers who can use Adobe Creative Suite 5 to author content for AIR for TV, the platform already has a large built-in user base.

AIR 2.5’s cross-platform technology is especially good news for content companies who can re-purpose existing assets to quickly create an app for a movie property that can then be delivered across a spectrum of devices from Internet to mobile to TV.

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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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