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2011 3D Feature Release schedule

Here is the most recent 2011 3D feature release schedule, as posted on Box Office Mojo here

The Green Hornet (in 3-D)

Sony

1/14/11

Sanctum (3D)

Uni.

2/4/11

Gnomeo and Juliet (in 3-D)

Mira.

2/11/11

Justin Bieber: Never Say Never

Par.

2/11/11

Drive Angry (in 3D)

Sum.

2/25/11

Mars Needs Moms (in 3D)

BV

3/11/11

Rio

Fox

4/15/11

Thor

Par.

5/6/11

Priest (in 3D)

SGem

5/13/11

Pirates of the Caribbean: On Stranger Tides (3D)

BV

5/20/11

Kung Fu Panda 2

P/DW

5/27/11

Green Lantern (in 3D)

WB

6/17/11

Cars 2

BV

6/24/11

Harry Potter and the Deathly Hallows (Part Two in 3D)

WB

7/15/11

Captain America: The First Avenger

Par.

7/22/11

The Smurfs (in 3D)

Sony

8/3/11

The Darkest Hour

Sum.

8/5/11

Spy Kids 4: All the Time in the World (in 3-D)

Wein.

8/19/11

Fright Night (in 3-D)

BV

8/19/11

Final Destination 5

WB

8/26/11

Untitled 3D Shark Thriller

Rela.

9/2/11

Piranha 3DD

W/Dim.

9/16/11

Dolphin Tale 3D

WB

9/23/11

The Three Musketeers (2011)

Sum.

10/14/11

Puss in Boots (working title)

P/DW

11/4/11

Happy Feet 2 in 3D

WB

11/18/11

Arthur Christmas (in 3D)

Sony

11/23/11

Hugo Cabret (in 3D)

Sony

12/9/11

Alvin and the Chipmunks: Chipwrecked

Fox

12/16/11

The Adventures of Tintin: The Secret of the Unicorn (in 3D)

Par.

12/23/11

Journey 2: The Mysterious Island

WB

2011

TV war expected to rage at CES 2011

LG Electronics will unveil the largest three-dimensional (3D) television to date at next month’s International Consumer Electronics Show (CES) in Las Vegas, as it attempts to regain a reputation for innovation in the television business.

However, Samsung Electronics has no intention of letting its domestic rival steal the show at the world’s largest consumer technology trade fair, as it looks to have a series of Internet-enabled televisions at its booths.

Connected televisions and 3D flat-screens are considered the natural successors to the conventional liquid-crystal display (LCD) television sets of today. And Samsung and LG, the world’s two biggest television manufacturers in that order, are aiming for a bright start in these up-and-coming product segments and cement their positions in the market.

LG, which had been struggling to match the 3D television buzz generated by rivals Samsung and Sony in the past year, seems determined to make some noise by offering an in-your-face stereoscopic experience.

The company’s 72-inch 3D television, tagged the LZ9700, will probably remain as the industry’s largest model when it reaches consumers in the United States and other major markets during the first half of next year. The massive screen is supported by a “full’’ light-emitting diode (LED) backlighting system and also features a 480 hertz refresh rates, which helps to combat eyestrain and dizziness by reducing the flickering of images, LG officials said.

The television will also support Internet connectivity, which will allow viewers a variety of options in video-on-demand (VOD) content and applications atop of Web browsing.

LG hopes to find a significant demand for its 3D televisions in the U.S., home to a vibrant 3D content industry and where customers have been more willing to give these intriguing but unproven products a try. U.S. customers also appear to have a larger appetite for large-screen televisions than other consumers.

“We believe that our product will lead the transition toward large-screen 3D televisions,’’ said Havis Kwon, the head of LG’s home entertainment division.

Obviously, LG would love to duplicate the success of Samsung, which has been controlling the U.S. television market with authority. Samsung is likely to end the year as the top television brand in the U.S., which would mark the fifth consecutive year at the top, and the company hopes that its increasing sales in 3D and connected televisions will help extend its leadership for a sixth.

Through January and November, Samsung been topping the U.S. market segments for LCD, LED-backlit, 3D and Internet-enabled televisions, and has been boasting a 40 percent-plus share in the premium LCD televisions, according to market researcher NPD.

Samsung is looking to exploit the CES to generate more excitement for its upcoming televisions, and a significant part of its promotional efforts will be channeled for its “smart’’ televisions that are equipped with Internet connectivity and a wealth of sophisticated, interactive functions.

The company plans to launch a new lineup of connected televisions, dubbed “WOW’’ Smart TVs, with some of the models being unveiled at the CES, company officials said.

More than 2,500 technology companies around the world are to participate in the Jan. 6 to 9 CES, which claims to be the world’s largest consumer technology trade show and attracts around 126,600 visitors each year.

See original story here: http://www.koreatimes.co.kr/www/news/tech/2010/12/129_78679.html

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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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