News Stories

The Universe (3D TV science series – History Channel)

EL SEGUNDO, CALIF.:DirecTV announced today that History Channel will contribute 3D programming to it’s stereoscopic offering. History will do the season premiere of its series, “The Universe,” in 3D on July 30. The season five premiere, entitled “7 Wonders of the Solar System,” will use computer-generated graphics to illustrate recent astronomical findings. It will be telecast on DirecTV’s n3D on Ch. 103, and in 3D on Ch. 101. at 10 p.m. ET/PT this Friday.

“This is the type of programming that lends itself perfectly for 3D and still looks amazing in HD,” said DirecTV’s Derek Chang. “We are excited to be partnering with History as they embark on their first 3D mission.”

The first 3D episode of “The Universe” depicts, according to DirecTV and History, “mountain ranges on Saturn’s rings; the famous red spot on Jupiter and the indication that there may soon be another one; a volcano that would stretch the distance between Los Angeles and San Francisco if it was placed on Earth; and the highest resolution images ever taken of the lava flow on Mars that might indicate volcanic activity.”

DirecTV launched 3D programming June 11 with ESPN’s stereoscopic channel. nD3, a 3D movie channel and an on-demand channel were later added. Programming has thus far included select 2010 World Cup games, the 2010 MLB All-Star Game and the NASCAR Coke Zero 400 race. The Summer X Games 16 and Guitar Center Sessions with Peter Gabriel and Jane’s Addiction are on deck.
— DMcA

Panasonic’s consumer-grade 3D camcorder leaks out, the HDC-S

Engadget

By Sean Hollister posted Jul 25th 2010 1:04PM

Link to original post

We’d heard Panasonic was planning a more affordable stereoscopic 3D camcorder, but it looks like we won’t have to wait until a mysterious July 28th Tokyo unveiling to find out for sure — it’s called the HDC-SDT750, and Panny’s advertising it as the “World’s first 3D Shooting Camcorder.” Leaks at all the seams of the company’s website afforded us the above picture, and the surprising revelation that the product may not be a brand-new camcorder, but rather an existing high-end 3MOS model (we’d guess the HDC-HS700) with a “3D conversion lens” attached. If the yet-to-be-activated product page’s source code can be believed, the SDT750 will shoot in 1080p AVCHD at 60fps, feature Panny’s proprietary Hybrid O.I.S. image stabilization technology, and come in a lovely shade of Henry Ford black. That’s all we have for now (save a second tiny picture after the break) but rest assured we’ll be keeping tabs on this one.

Update: Looks as if even more images and purported specifications have leaked out ahead of the official reveal.

Link to Update

Según nuestro servicio secreto, Panasonic tiene una sorpresa a los videoaficionados convencidos del potencial de vídeo 3D; la Panasonic SDT750, la primera cámara de vídeo de consumo que graba en 3D.

Por unos 1.900€ la Panasonic SDT750 promete acercar el vídeo en tres dimensiones a los aficionados más…, aventureros. Esta peculiar videocámara cuenta con un conversor frontal independiente que integra las dos lentes (similar a la Panasonic AG-3DA1) que obtienen las imágenes con ángulos diferentes. Internamente cuenta con un sistema captor 3MOS Full HD, por lo que tiene cierto parecido con los últimos modelos de videocámaras domésticas. La cámara graba en Full HD 1080/50p pero reduce su resolución a 960 x 1080 pixeles en los frames 3D. El objetivo angular equivale a un 35mm perotambién se reduce a un 58mm al acoplar la lente 3D. La Panasonic SDT750 puede funcionar como una cámara convencional 2D sin la lente 3D, que por cierto no es compatible con los modelos anteriores de vídeocámaras.

Sin embargo el gran punto negativo es que las grabaciones sólo son compatibles con televisores Panasonic Viera, lo que limita en gran medida su mercado potencial. Esperamos con ilusión que el software de edición 3D incluido, el HD Writer AE 2.6T  permita convertirlo a un formato más universal, porque sino no le vemos demasiada utilidad. La Panasonic SDT750 integra:

  • sensor 3MOS 7,590,000 pixels (2,530,000 pixels x 3).
  • HYBRID O.I.S. (Optical Image Stabilizer)
  • Advanced 3MOS System
  • Crystal Engine PRO
  • Leica Dicomar Lens
  • O.I.S. Lock
  • iA (Intelligent Auto) with Face Recognition
  • Manual Ring
  • 5.1-Channel Surround Sound System
  • 1.0-sec Quick Power-On
  • Pre-Rec
  • Touch-Screen Operation de 3″
  • Time Lapse Recording
  • 50 Frames/sec High Speed Burst Shooting
  • compatibilidad con tarjetas SDXC
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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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