News Stories

3D proves a hit in the classroom (UK)

“3D could have a real future, breathing new life into an ageing curriculum”

Biology lessons are a distant memory for me but if they had been anything like the one I’ve just sat through at Abbey School in Reading, I think I may have remembered a little more.

The pupils were looking at how a chest works, via 3D glasses and a 3D-enabled projector.

“So cool”, “It’s huge”, “I thought the diaphragm was a flat muscle,” “I didn’t realise it wasn’t under the ribs” were just a few of the comments made when the girls put on their glasses to examine the model of the thorax in more detail.

“It is an amazing experience, so good for learning,” said Yvette.

“Much more interesting than looking at a flat text book,” added Polly.

“It is more lifelike which makes it easier to grasp the concept, ” said Rosie.

If 2009 had a buzz word it might have been 3D. But despite the hype, there are murmurings that it is a gimmick already getting past its sell-by-date.

Some reports suggest cinema audiences are starting to tire of 3D movies and, while 3D TVs are increasing sales, not everyone is impressed with the results.

According to net measurement firm Nielsen, only a tiny percentage of houses have 3D TV with many others saying they have no intention of upgrading.

Not so in education, where it seems 3D could have a real future, breathing new life into an ageing curriculum and offering a glimpse of how 21st education should be.

“We aren’t far away from the next stage where children can hold and manipulate 3D images in their hands. This could be combined with online learning. It could be a phenomenally successful educational model that is truly visionary,” said Katheryn MacAulay, deputy head at the school.

She introduced the system to Abbey School in the spring of 2010, having discovered Texas Instrument’s (TI) system at the BETT education show.

“TI wanted to see whether it would be successful in a non-US environment and we agreed to test it,” she said.

Within four months she had interest from schools in Germany, the Netherlands, Italy and Turkey and at next year’s BETT will be talking to 100 headteachers about how the system has slotted into the curriculum at Abbey School.

Ros Johnson, head of biology at the school, said she was “gobsmacked” when test results from classes using the 3D technology were compared to those without it.

“The 3D results were significantly better,” she said.

Teaching a Year 7 class about plant cells proved difficult using traditional methods

“You try to explain how cells divide and they aren’t getting it,” she said.

But with a 3D model to explore, the class had a collective light bulb moment.

“I knew it would be useful but I didn’t expect it to have such a significant effect,” said Ms Johnson.

3D in the classroom isn’t gimmicky said Ms Johnson, instead it is very much just a part of the lesson, rarely on for more than 10 minutes.

The fact that it can be projected over the whiteboard means that it is easy to switch between 3D and 2D teaching.

It is early days for 3D technology in schools. 3D-ready projectors are no more expensive than normal ones but a class set of glasses currently costs around £1,500.

This seems even more expensive when the technology is so new and therefore prone to glitches.

The class set at Abbey School had to be replaced because of synching issues as pupils moved their heads around in very different ways to how someone simply viewing a movie would do.

There is also more to do to develop software for the system. According to Ms Johnson some of resources she has used have been factually inaccurate.

“The software developers must work with teachers in future,” said Ms MacAulay.

Despite the issues, the school is already building up an impressive library of 3D resources in a wide array of subjects from maths to geography and history.

3D in the classroom could be here to stay.

See the original post here: http://www.bbc.co.uk/news/technology-11891753

2010: A Year in Transition (Marketing 3D)

“A key challenge in 2011 will be consumer education regarding 3D in the home and the value proposition that digital ownership represents,” [Lori MacPherson, EVP and GM of Walt Disney Studios Home Entertainment] said. “Consistent messaging that resonates with our core consumers will be key as we strive to tackle the ever-present issue of marketplace fragmentation. We need to make good on the promise of interoperability, and the driving force has to be, ‘How do we best serve our consumers?’”

Read the full story here: http://www.homemediamagazine.com/news/2010-a-year-transition-21512

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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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