News Stories

BT proves it has 3D Vision

11.10.2010

BT Vision is to add 3D content to its on demand platform following a new agreement with NBC Universal International Television. The IPTV operator has secured the VOD rights for all the 3D titles released by the studio over the next 12 months.

A separate deal has also been signed with Vertigo to show StreetDance, the first British movie to be shot in 3D. The BBC Films production features Diversity, winners of Britain’s Got Talent 2009, and Flawless BGT finalist and Street Dance Champions.

The NBC agreement will bring in Step Up 3D, available from November 29, and the animated Despicable Me featuring the voice characterisations of Steve Carrell and Russell Brand, which will be seen from next March.

Marc Watson, chief executive of BT Vision, said: “We already have an extensive catalogue of more than 500 movies in the UK courtesy of our long-term deals with major Hollywood studios and independents like Vertigo. Now Vision viewers can experience films at home in fantastic 3D, thanks to these new deals.”

Watson promised that further movies would be introduced over the next few months.

Pricing for 3D movies will typically be £2 more than their standard definition equivalents.

By Julian Clover

source: http://www.broadbandtvnews.com/2010/11/10/bt-proves-it-has-3d-vision/

Sony training video: 3D cameras and rigs

11.10.2010

source: http://3dcinecast.blogspot.com/2010/11/3d-cameras-and-rigs.html?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+MediaTechnologyIntelligence+%28Media+Technology+Intelligence%29

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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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