News Stories

Michael Jordan, ‘NBA 2K11’ going 3D on PS3

PlayStation 3 owners will soon get to watch Michael Jordan dunking from the foul line in 3D as soon as later this month.

Publisher 2K announced they will add 3D support to their basketball simulation NBA 2K11 on November 16.

The 3D version of the game will be available only at retailer Best Buy, says a statement from 2K. Current owners of NBA 2K11will be able to download a patch adding 3D support from the PlayStation Store next January.

Players must own a 3D compatible television with glasses in order to enjoy the new functionality.

NBA 2K11 features Chicago Bulls legend Michael Jordan, as players relive his career and attempt to guide him to glory as a rookie in the modern-day NBA.

By Brett Molina

source: http://content.usatoday.com/communities/gamehunters/post/2010/11/michael-jordan-nba-2k11-going-3d-on-ps3/1

Dvorak Predicts: Future of the 3D TV

Is the 3D fad here to stay? Yes, I think so, but just as a fun, once in a while kind of thing.

After reanalyzing the 3D trends, I can assure you that 3D is here to stay. However, it’s not here to stay as an everyday thing, but as a fun gimmick that everyone will use once in a while.

I’ve personally seen a couple of iterations of the 3D fad in my own lifetime, including the early theatrical stuff, which I loved as a kid, and the more recent shutter-glasses variations. Every time 3D has cropped up, there has been a faddish quality about it, but the public always flocks to it, showing that it could have some legs. The amount of money generated by Avatar and Alice in Wonderland counts for more than the opinion of pundits, and until these movies stop making boatloads of dough, they will continue to be produced.

The reason I have changed my mind about 3D is the new digital technology. Unlike in the past, the 3D movie experience can now be done with one multipurpose digital projector that can exhibit a 3D stream over an elaborate network making the cost of exhibition only dependent on distribution of 3D eyewear which is usually accounted for in the ticket price. In other words, the economics of 3D are a lot different than in the past when you needed two synchronized projectors and two complete films to show the movie plus the eyewear. Also the whole 3D experience has improved.

The same thing applies to home 3D. The cost of entry within the next few years will only be the cost of the eyewear. This should have dawned on me earlier when the first over-priced, home 3D flat panels began to arrive. My initial logic was: Why should I spend an extra $1,000 for something I’d rarely use? I mean, how much 3D programming is there on TV anyway? NONE.

But it became apparent within a few months that I was missing the point. The circuitry for 3D TV is just circuitry. Any good panel can do the 3D trick with the right circuit. A few extra chips will, eventually, be included in the main board of all TV’s, because it gives the maker a marketing edge to say that the TV is 3D-ready, or 3D-compatible, or 3D-capable or just 3D. The point is: all flat panel displays will be 3D compatible within the next few years, because it’s a feature you can add for free. There will be no cost differential at all.

Thus, if everyone will own a 3D TV (whether they like it or not), I can say that the technology is here to stay, and everyone, once in a while, will don the 3D glasses and watch home movies or photos made with one of the 3D camera rigs out there. It won’t be something you’ll be doing all the time, but something you do every so often. “Hey, Mom, where are the 3D glasses? Someone moved them!” will be often heard around America.

And did I mention porn?

Eventually, the future commonplace of 3D will lead to genuine glasses-free 3D, which works great in small formats already. The LCD on the nifty Fujifilm Finepix Real 3D W3 (two lens, two sensor) camera employs this technology, and it’s awesome. And it can be turned off, too. Very impressive.

In the end, 3D will be an included feature on all future LCD flat-panels, because it’s just a couple more chips that get thrown in for free. So, if we all can use it on TVs for free, how can it not succeed?

By: John C. Dvorak

source: http://www.pcmag.com/article2/0,2817,2372000,00.asp

< 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.