News Stories

UK consumers ‘unlikely to buy 3D TV’

Just two per cent of UK consumers are planning on purchasing a 3D television over the next 12 months, according to new research by Deloitte.

Football fans on April 3 enjoying the the Premier League clash between Manchester United and Chelsea in 3D at over a thousand pubs and clubs across the UK and Ireland. Photo: SKY

The report, which polled 4,199 Britons and was conducted by YouGov for Deloitte, found that only 89 respondents were likely to spend money on a 3D-enabled TV set over the coming year.

Those aged between 25 and 34 were the most likely to say they were planning to buy a set, with five per cent saying they would invest in a set over the next 12 months.

Britons over the age of 45 were least likely to be planning to purchase a 3D TV set in the foreseeable future, with only one per cent saying they would.

However, the research found that UK consumers across the board, had little interest in investing in any type of new TV products or services, including internet connected TVs and personal video recorders (such as Sky+ or Virgin).

High definition and flat screen TVs were the products and services that most consumers were willing to invest in, with seven per cent of those polled saying they would invest in both types of TV technology over the next year.

Paul Lee, Deloitte’s media director, said: “It is remarkable how conservative people’s predictions for their own technology spending habits over the coming year were. They didn’t have to commit to buying anything during the research and yet still predicted very little spend on TV products moving forward. Belts have tightened after the economic downturn and with little understanding of what lies ahead, consumers are still being cautious.”

Dr. Sean McCarthy, a fellow of the Technical Staff at Motorola, the telecoms company which also builds 3D capabilities into TV set-top boxes, said the 3D component of new TVs could end being an “extra perk” rather than the factor driving the main purchase decision. He explained: “It is interesting that 3D TV is taking longer to adopt than HD, for example. The infrastructure required for 3D TV is basically the same as the infrastructure required for any other kind of digital television. You could say that the 3D televisions that are coming onto the market are really just very good 2D televisions with the bonus that they have the right physics and signal processing for delivering separate high-quality left- and right-eye views…

“There are no major technology barriers anymore. The TV displays are good. The glasses are good. The digital infrastructure is in place. What I see happening now is a move from simply enabling 3D TV towards making 3D TV a compelling home experience for consumers. Compelling 3D TV means that home viewers will be able to experience the director’s original intent and vision without the technology of distribution getting in the way, and will seamlessly switch from 3D back to 2D viewing.”

It is not yet known how many people nationally have bought a 3DTV. But retailers are reporting significant interest. Last month John Lewis revealed that 15 per cent of all TVs over 40in sold in their stores are 3D TVs.

Bob Darke, Comet’s commercial director, was unable to provide specific 3D TV sales figures but said the nationwide chain had sold “thousands” since their launch earlier this year. He added: “3D TVs have been selling very well at Comet since their launch, with the biggest spike in May, which we can attribute to the World Cup. While the games weren’t shown in 3D it is typically a time where people look to upgrade their set to the best available TV on the market, which at the time and still is 3D.”

By Emma Barnett, Digital Media Editor

Published: 7:00AM BST 26 Aug 2010

link to original post at Telegraph . uk

Dayglow 3D to transform the UCF arena (Univ. Central Florida)

“It’s the first 3D Dayglow in Orlando, so everyone is going to get 3D glasses, and there will be lots of 3D art and models painted in 3D as well.”

KnightLyfe Entertainment looks to show UCF and Orlando some Miami-club style by bringing Dayglow 3D to the UCF arena.

The event will be held in the UCF arena Friday, Sept. 3 from 8 p.m. to 2 a.m.

Although KnightLyfe has held Dayglow parties in the UCF area in the past at places such as Roxy and TD’s, the event in the arena will be the largest one to date.

“Well, the max capacity is 5,093,” said Mikey Stylez, founder of Knightlyfe Enterainment. “The way we’re going right now, it looks like we’re going to sell out in the next couple of days.”

Tickets are $25 and VIP tickets, which come with a free Dayglow shirt, bottle of paint, Dayglow backpack, and CD featuring House and Electronic Dayglow music, are $50, Stylez said.

Stylez described the event as a new-age rave.

What began as a concept in Tallahassee has been transformed into some of the largest paint parties in the world, under the direction of Commitee Entertainment, a company that started in Tallahassee and has been working with Knightlyfe Entertainment since its inception.

New additions to past Dayglow events include contortion acts and paint cannons as well as acrobats, said Stylez.

“I think people are really going to get their money’s worth,” he added. “It’s the first 3D Dayglow in Orlando, so everyone is going to get 3D glasses, and there will be lots of 3D art and models painted in 3D as well.”

Two UCF students, who are KnightLyfe DJs, will be featured as DJs, DJ Henry Fong and DJ Massi, Stylez said.

There will also be a concert that features headliner Funkagenda as well as David Solano, who serves as Dayglow’s resident DJ.

“It’s going to be an insane party, and I don’t think people are expecting more than what it’s like at a local place. It’s just going to be a riot,” DJ Massi said.

KnightLyfe began four years ago and has increased their capital in ways that have allowed the company to use the UCF arena for Dayglow, he said.

“I think it’s going to bring more of a house music mentality to Orlando. It’s huge in Miami and it’s not as big here,” DJ Massi said.

“This is probably one of the biggest steps to bringing it to Orlando and bringing it to UCF, the biggest part of Orlando nightlife.”

By Camille Thomas

Staff Writer

link to original post at Central Florida Future

< PREVIOUS ARTICLES NEXT ARTICLES >

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.

Oops, something went wrong.