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ESPN SVP Research Bulgrin presents findings about 3D viewing

11.29.2010

ESPN’s 3D presentation of the 2010 World Cup had a certain “presence.”

That was one of the key findings of a comprehensive study by ESPN Research + Analytics, which compiled results, spanning over 700 measures, from more than 1,000 testing sessions and 2,700 hours of participants watching live or nearly live matches at the Disney Media and Ad Lab in Austin, Texas, last June and July.

Speaking at the “3DTV 2011 What’s Next?” conference, presented by B&C/Multichannel News and other NewBay Media brands, Thursday afternoon in NYC, Artie Bulgrin, senior vice president of ESPN Research + Analytics, said that while there weren’t significant differences among viewers checking out the contests in 2D versus 3D relative to enjoyment and involvement levels, there was a major uptick in the “presence” quotient.

The research showed that 42% of respondents indicated that they felt like they were in the stadium during 2D presentations of the World Cup games. That percentage jumped to 69% for those watching in 3D. Bulgrin said viewers described that it “felt like really being there” of their 3D World Cup viewing experiences.

Similarly, data about presence grew from 42% for 2D viewing, to 52% for 2D to 3D conversion of the match images, and 69% for the matches delivered in native HD.

read the full article here: http://www.broadcastingcable.com/article/460113-3DTV_2011_ESPN_s_World_Cup_Coverage_Netted_A_Presence_.php

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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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