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3D Projection Advertising (video): In Ralph Lauren’s World, The 4th Dimension Is Scent

Last night, we ventured our way up north to 72nd and Madison, home of both the Ralph Lauren men’s and women’s storea, to witness what the invitation called “THE ULTIMATE COLLISION OF FASHION, ART, & TECHNOLOGY”, emphasis theirs. With no idea what to expect, we hoped for champagne, yummy hors d’oeuvres, and some insight into Mr. Lauren’s so-called “4th Dimension.”

There was no food, but we were lucky enough to be in the more than capable hands of The Gloss‘ Jennifer Wright, who managed to procure a plate of expensive (albeit small) cookies on a porcelain plate from the depths of Ralph Lauren’s Rheinlander Mansion. Post cookies, we took advantage of the red wristbands gifted to us under the premise that they’d “allow us to experience the 4D aspect of the presentation” and took our places behind the barricades outside the men’s store, directly in front of the women’s store, and somewhat in the middle of Madison Avenue.

The presentation was, as the promised, a collision of fashion, art, and technology, with 3D laser-projected ties flapping gently against the storefront in 3D laser-projected wind, and polo players exploding from the depths of the mansion and transforming into four enormous Big Pony fragrance bottles, and a finale complete with Ralph Lauren himself (well, the 3D version of himself) waving affably from one of the second story windows. At one point (specifically, when the Big Pony bottles appeared), those of us in the red-wristbanded area were spritzed with the scent of one of the Big Pony fragrances — though, while we were perhaps at the forefront of the spritz, it did feel like all of Madison would smell like all-American luxury forevermore, which, we suppose, isn’t necessarily off base.

Anyway! The fragrance spritz, indeed, was the 4th dimension and what a lovely scented dimension it was. You can take a look at a condensed version of the presentation below which was honestly very cool and much more than we expected. A gallery of our own pics is below that, just in case you wanted to see it through our (iPhone’s) eyes.

WATCH:

by Verena von Pfetten | 11:46 am, November 11th, 2010

source: http://www.styleite.com/retail/ralph-lauren-4d/

Stereoscopic 3D Game Platform Benchmarking

While traditional gaming media has every benchmark under the sun, it’s very rare to find ratings for modern stereoscopic 3D drivers like DDD, iZ3D, and Nvidia’s GeForce 3D Vision.  This is completely understandable because it’s much more time consuming, the drivers don’t work equally well with the available measurement tools (e.g. FRAPS), and game setting expectations are different from one solution to the next.

We’ve been getting our share of graphics cards for game testing, and it got us thinking.  What’s stopping us from doing some benchmarking on MTBS?  Could we share information that other sites don’t?  Let’s find out!

Using both an Nvidia and AMD graphics card, combined with all three driver solutions, we wanted to determine:

1.    Can games be fairly benchmarked in stereoscopic 3D?
2.    What is a realistic game efficiency expectation in 3D?
3.    How does antialiasing impact S-3D game performance with the different driver solutions?
4.    Does deeper access to the graphics card directly impact performance?

To be fair, this article is more of a media experiment than a diverse collection of S-3D gaming performance results.  Similar to M3GA’s regimented rules, benchmarking should be based on a fixed platform that meets certain criteria.  It’s for this reason that we limited benchmarking to just two graphics cards and a handful of tests.  We want to get the process down pat, get the required benchmarking equipment, and then we will be able to follow through with a full-fledged service on MTBS.

Full article By Neil Schneider here: http://www.mtbs3d.com/index.php?option=com_content&view=article&id=11953&Itemid=77

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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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