News Stories

Super Hi-Vision on Display at NAB

NHK—hidden in the back of the north hall in booth 637–is continuing to demo its developing Super Hi-Vision 8k system, with 22.2 multichannel sound. Images in a theater setting include sunflowers, a river and the arctic. A broadcast demo features a look at the Las Vegas strip.

NHK received a special award at IBC08 for its developing Super Hi-Vision system.

At NAB, Japan’s national public broadcasting organization is also showing a prototype of what it calls “Integral TV,” a 3DTV system that does not require special glasses and can be observed as the viewer moves around.

Not to be missed is the NHK 1920×1080 3D imagery of the surface of the moon and earth, lensed from a lunar orbiter. The screening lasts roughly five minutes.

AJA Eyes Production Workflow

AJA introduced its first product aimed at production: The Ki Pro portable DDR.

The technology records files to the Apple ProRes codec directly from camera, and it was designed to allow filmmakers to skip the process of re-rendering to an editing codec.

Arri, Canon and Red have echoed support for the technology.

Said Arri’s Adrian Widera in a released statement: “We are really excited about the potential of Ki Pro to streamline decision making on-set and in postproduction.”

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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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