News Stories

Calvin Klein, Marchon Team For 3D Sunglasses

11.5.2010

CK Calvin Klein Eyewear has partnered with Marchon3D to produce 3D-enabled sunglasses.

The CK3d-branded glasses feature M3D lens technology that allow for the only curved 3D lens on the market that is RealD-certified, Marchon said.

The curved lens, matching the contour of the eye, is said to allow for a greater image immersion, while photocromic lens technology allows the glasses to be worn indoors and for 3D viewing and outdoors with UVA/UVB/UVC protection.

The CK3D sunglasses will be offered in three men’s and three women’s styles and will be available in with a retail of $180.

Marchon3D was launched in July after Marchon Eyewear acquired 3D technology assets from MicroVision Optical. Marchon then signed a global licensing agreement with RealD to use the RealD brand for sales of Marchon3D eyewear.

“With Marchon3D’s M3D technology and CK Calvin Klein Eyewear’s sleek, fashion-forward design, we are providing consumers the best 3D-enabled sunglass on the market,” said Claudio Gottardi, president of Marchon3D. “Having infused technology and fashion only raises the bar in the 3D eyewear field, and Marchon is excited and proud to lead the industry.”

TWICE Staff — TWICE, 11/5/2010

source: http://www.twice.com/article/459472-Calvin_Klein_Marchon_Team_For_3D_Sunglasses.php

U.S. 3DTV Shipments Reach 655,000 Through September

11.4.2010

A total of 655,000 3DTV sets shipped in the United States through September, according to figures from the Consumer Electronics Association. That leaves just three months to ship half again as many sets to bring the total to 1.05 million, the CEA’s forecast for the year. But that’s entirely realistic, a spokeswoman said. The majority of TV sets traditionally sell in the fourth quarter as the holidays approach.

“We could potentially see as many sold in the fourth quarter as we have seen year-to-date,” she said.

Forecasts for 3DTV adoption have varied, but one thing pretty much agreed-upon is that there aren’t that many sets in homes. The first 3DTVs hit the market just eight months ago, and require the use of shutter glasses to view 3D content. The glasses, along with the early premium price points, have put people off of the first wave of 3DTVs. A full 65 percent of people in a recent Zagat survey said they had no interest in adopting 3D for the home.

None of which is dissuading ESPN, however. The sports franchise launched the first 24/7 3D channel in June, and created its own viewer pool to get audience feedback.

“3D is a very nascent technology,” said ESPN’s Artie Bulgren. “It’s hard to find where these users are.” Consequently, ESPN invited participants into the Disney Media and Ad Lab in Austin, Texas, during the 2010 World Cup to watch the games in 3D. ( See, “ESPN Finds 3D Increases Viewer Engagement.”)

ESPN is also scheduling with an eye toward increased set sales during the fourth quarter.

“By then end of this month, will have produced a dozen college basketball games” in 3D, said ESPN’s Bryan Burns. “We know a majority of TV sets are sold this time of year. That’s not lost on us.”

by Deborah D. McAdams

source: http://www.televisionbroadcast.com/article/108864

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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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