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3D TV Sales Get Failing Grade So Far

That is the grade given to the rollout of 3D TV by Tom Galanis, operations VP for Sixth Avenue Electronics.

In a wide-ranging interview conducted by TWICE executive editor Greg Tarr at the NewBay Media 3DTV 2011 What’s Next? Conference, held here on Nov. 18, Galanis was blunt in describing 3D’s introduction to the public.

“As an industry we could have done a better job launching it. We should have had standardized glasses and we should have presented it to the consumer as a feature of a higher quality television,” he said.

Galanis described 3D TV sales forecasts of 3 million to 5 million sets for 2011 a little high. He said stores with a trained sales staff, like Sixth Avenue, are better positioned to sell 3D TV due to the complicated nature of the product, which includes explaining why the person should spend more on the technology.

This includes the active matrix glasses required by many models, which Galanis pointed to as the primary stumbling block.

“Glasses, if you didn’t have them it would have been a victory for 3D,” Galanis said, adding the current pricing structure for the glasses is well above what the average consumer is willing to pay.

“I think $50 to $60 is what people are willing to spend and aftermarket [glasses] sales are not going well. People are only taking the bundled glasses,” he said.

The industry trend for next year to go from the more expensive active shutter glasses to passive may not solve the problem. Galanis said the last thing needed is another standard, plus passive glasses do not deliver the same level of performance as their active shutter cousins.

To battle this problem the industry needs to standardize the equipment and target the marketing toward certain types of programming. He described these as spectacle types of shows.

There were a few bright points. Tarr said the average selling price of a 3D TV is around $1,700 compared with the $1,000 for a standard TV sale. Consumers also have not expressed worry over the various health issues — like headaches and seizures — that have surrounded the technology.

Sixth Avenue customers are also leaning toward plasma-based 3D TVs over LCD. Galanis attributed this to the plasma display’s faster refresh, which delivers a better 3D experience.

Galanis said selling 3D TV should get easier as more 3D content becomes available and the growing interest in IPTV will help sales.

“Right now more people are interested in IPTV than 3D. However, if a person wants IPTV they would probably want 3D,” Galanis said, adding these customers want bleeding edge technology.

Sixth Avenue is not counting on 3D TV to be a Black Friday driver since that is a price-driven event and 3D TV is still too expensive.

He did think consumers would come out during the holiday shopping period, despite the tough sales environment that is currently in place.

By Doug Olenick — TWICE, 11/19/2010

source: http://www.twice.com/article/460107-3D_TV_Sales_Get_Failing_Grade_So_Far.php

3D Content Hidden in Avatar Collector’s Edition Blu-ray

“not anaglyph features, but ‘real’ 3D” /

Inquisitive Blu-ray enthusiasts have found out that the Extended Collector’s Edition Blu-ray of Avatar exclusively features two 3D bonus features in the form of “Easter Eggs”: the movie trailer and a four-minute featurette titled Pandora Discovered, featuring 3D footage from the film, with narration by Sigourney Weaver as Dr. Grace Augustine.

To access those two features, insert Disc Three of the Blu-ray set. When the main menu appears, move the cursor to the far right and click right once again. At that moment, the 3D selections will be displayed on screen.

Note that these are not anaglyph features, but “real” 3D content created following the Blu-ray 3D specification, and requires a 3D Blu-ray compliant player, display and glasses.

As previously reported (see Blu-ray.com, October 28, the 3D Blu-ray of the full movie will be available exclusively to buyers of Panasonic 3D hardware.

by Juan Calonge

source: http://www.blu-ray.com/news/?id=5477

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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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