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HPA Demo Room: Part II

JVC showed a prototype 46-inch 3D HDTV and 32-inch 3D HDTV, in the HPA Demo Room. Features include 2D/3D real-time conversion.

 

JVC at HPA

JVC at HPA

Also on the 3D front, Sony reconfirmed that it plans to release its 3D adaptor for its 4K digital cinema projector in March.

Panasonic offered a technology demonstration of wireless metadata entry for the P2 cameras. Users could add information such as takes numbers during production, using a laptop or mobile device such as an iPhone.

Talon Data Systems highlighted its NetFlight WAN transfer system. Emphasizing reliability and speed, the company told HPA attendees that NetFlight could, for example, send a 122GB file from Los Angeles to Paris over a 10 Gigabit connection in seven minutes, or the same size file from L.A. to Paris over a 1 Gigabit connection in 17 minutes.

Abovenet Outlines Jabnet Strategy

At HPA, Anthony Magliocco of AboveNet introduced private network Jabnet, currently available in Los Angeles, San Francisco, New York and London. Abovenet aims to offer its network in 15 cities by the end of 2009.

Features include: Pay as you go, ability to connect to services and other networks, private, high speed.

–About 20 companies connected, including ILM, Sony Pictures Imageworks and Dreamworks Animation.

abovenet_jabnet_community

–Apps might include review and approval, collaboration, remote rendering and secure screenings.

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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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