News Stories

Samsung launches digital download 3D video app

8.31.2010

For those of you out there with a Samsung 3D TV but are still frustrated with the lack of 3D content, there’s a new app that will solve your worries.

Owners of a Samsung 3D TV, which is the majority of 3D TV owners in the US, can go to the Internet @ TV menu to find the new “Explore 3D” app available from Samsung. It’s a free download.

The app currently only has three pieces of content – trailers for Shrek Forever After, Megamind, and How to Train Your Dragon. The trailers are streamed in real-time in full 3D resolution. 3D glasses are, of course, required.

However, there are other tabs for videoclips and premium video, though nothing is available in those sections at this time.

Samsung had teased that it was working on a digital download option for 3D content streamed directly to the TV, but no one really expected such an app to be available so soon.

This means that any Samsung 3D TV owner with an Internet connection can access 3D content. No need for a special Blu-ray player, special Blu-ray movies, a PS3, or a specific cable provider.

Samsung recently launched its own e-commerce platform for Internet-connected TVs, allowing developers to create premium apps access directly through the TV. The newly launched 3D app would assumedly tap into that infrastructure, meaning hopefully in the near future, viewers will be able to buy and watch full-length 3D movies directly through their TV with no external hardware.

This will provide Samsung with a huge competitive advantage over other 3D TV makers which still have to combat the problem that there just isn’t a heck of a lot of 3D content available.

MARK RABY | Tue 31st Aug 2010

link to original post at TG Daily . com

North American TV Shipments Continue to Decline

8.31.2010

– “this hard shift in [technology] mix could be contributing to slower growth in markets” –

Shipments of televisions in North America fell 3% in the second quarter despite a 26% surge in global unit shipments, according to a new report.

Santa Clara, Calif.-based DisplaySearch said strong consumer demand from the recent month-long World Cup soccer competition helped spur 70% year-over-year quarterly TV unit shipment increases in Latin America and less so in Europe. Japan posted a 56% year-over-gain due in large part to government subsidies encouraging consumers to trade-in older TVs for more energy-efficient models.

“The results for TV shipments in Q2 were definitely mixed, as not all regions benefited from external stimuli like the World Cup or digital TV transitions in regions such as Europe,” said Paul Gagnon, director of North America TV market research for DisplaySearch.

Indeed, a build-up of inventory, combined with a weaker euro, will likely lead to a correction in the third quarter and heading into the holiday fourth quarter, according to Gagnon. In addition, with consumer electronics manufacturers adding increased technology to TVs, including access to 3D content, video-on-demand movies, music and related online content, unit prices are increasing.

“As consumers still seem reluctant to spend, this hard shift in [technology] mix could be contributing to slower growth in markets like North America,” Gagnon said.

Aug 31, 2010

By : Erik Gruenwedel

link to original post at home media magazine . com

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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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