News Stories

A Conversation with Eisuke Tsuyuzaki (Panasonic, 3D)

Just after this year’s International Consumer Electronics Show in Las Vegas, where Panasonic had one of the grandest 3D displays of any consumer electronics manufacturer, Eisuke Tsuyuzaki sat down with Home Media Magazine editors for a brief discussion of 3D and its role in the future of home entertainment.

HM: Why 3D for the home, and why now?

Tsuyuzaki: 3D in the cinema has come of age. It has moved beyond the “spear in your eye” phase and is now being used to create a sense of depth and spectacle that’s motivated by the story, not working in opposition to it. So it’s natural that Panasonic would try to bring that great sense of spectacle, that ability to feel you’re a part of the action rather than a step removed from it, into the home. It’s what we do in consumer electronics. Beyond 3D in the cinema and its natural extension into the home, the applications for television programming are immense and promising. And, of course, anyone with a teenager at home knows that 3D gaming is a huge opportunity.

HM: Will 3D be the “killer app” that makes Blu-ray Disc universal?

Tsuyuzaki: Our research tells us that Blu-ray, with its 1080p resolution, already is perceived by consumers as the best way to view any pre-recorded content in the home. The format is amazingly robust and has become the gateway to an entire world of entertainment not otherwise available. Panasonic’s stance is that 3D enhances the value and viability of Blu-ray and ushers in a whole new area of possibility and broadens the definition of in-home entertainment. It is truly the icing on an already delicious cake.

HM: First with Blu-ray and now with 3D, Panasonic truly has been on the forefront, both in promoting the technology and in forming partnerships with the Hollywood content community. Is this a strategic decision, and if so, why?

Tsuyuzaki: Our role at Panasonic is not simply one of selling products, but of evangelizing the technologies in which we so deeply believe. By doing so, we can lead the industry to best practices, seed the market with great content, and help grow existing and build new businesses. Through the hard work of our dedicated team, Panasonic has pioneered the development of key Blu-ray and Full HD 3D standards. In fact, we recently received an Emmy Award for our contributions to Blu-ray Disc technology. Not only did we help complete the formats, but our work also put us in a leadership position and into an even closer partnership with the Hollywood community. We worked collaboratively with the studios to promote Blu-ray and 3D, and to create opportunities to move the businesses forward. You could ask, are we also helping our competition by taking such an active lead? Sure. But in doing so, we’re helping the entire industry. The consumer can decide which company’s products truly deliver on the vision of a connected TV, 3D TV and Blu-ray. And we at Panasonic know we’re up to the challenge.

HM: You are considered by many in the home entertainment community to be the CE industry’s “point man” with Hollywood. How do you see yourself, and what you have done over the past few years?

Tsuyuzaki: I love movies and have always been attracted to the creative side of the entertainment business. While certainly not an entertainment content creator myself, I’ve been fortunate to have been a facilitator. Over the years I’ve worked at melding the interests of the consumer electronics and entertainment industries because, frankly, we both need each other’s success to succeed. I was lucky enough to be an integral part of the team that worked to perfect the BD standard and in doing so helped the studios create what I believe are some of the technically best Blu-ray releases. For example, when I was head of the Panasonic Hollywood Laboratory, our team was instrumental in developing the H.264 advanced video compression standard for Blu-ray. That group also was key in creating the Blu-ray BonusView, or picture-in-picture feature, and then the much-lauded BD Live feature. BD Live has dramatically expanded the appeal of Blu-ray and insured it a long life. It combines the best aspects of physical media — extraordinary picture resolution and a wealth of additional content — with the limitless creative and new business opportunities that come via an Internet connection.

While we were deep in the development of 3D technology, I remember introducing our Full HD 3D concept to James Cameron and his enthusiastic reaction. There were a lot of Panasonic products used by him in the production of Avatar. That relationship has certainly continued to work out well for all parties, I believe. To help grow the 3D business, Panasonic has invested in 3D content creation through our partnership with DirecTV and their N3D Powered by Panasonic 3D channel, the 24/7 3D entertainment and sports channel. And we’ve recently partnered with Verizon to perfect the streaming of full 1080p resolution 3D content via their FiOS fiber optic television service.

In everything we do, we believe that Panasonic and Hollywood have many areas of mutual interest. I believe we must do our part to help maximize the value of these close relationships.

HM: If you had to grade yourself, what do you see as your biggest professional accomplishments over the past couple of years, both as they pertain to Panasonic and to the CE world in general?

Tsuyuzaki: That’s a tough question! We work very hard, but there’s always more to do. To paraphrase a top auto industry executive, we aim for perfection because if we don’t we’ll only achieve mediocrity. Looking back, I’m impressed with what Panasonic has achieved and am happy to have played my small part. We made digital flat-panel TVs not only affordable, but with phenomenal picture and sound quality as well. Our work, with our industry partners, has ensured that Blu-ray disc production and creation would be of only the highest standard. And I’m proud of the work our industry has done in perfecting Blu-ray and in conveying its benefits to consumers.

Finally, the hard work of everyone involved in introducing 3D to the consumer is now starting to pay off, in increased consumer awareness, exploding plasma TV sales and an understanding by the public that 3D can really create a whole new kind of visual excitement in the home.

HM: Look ahead at our business in one year, three years, five years. Where are we headed?

Tsuyuzaki: Despite the naysayers, 3D will absolutely continue to grow. You will see a dramatic ramp-up in 3DTV content, which will turn 3D into a “must-have” feature for consumers. 3D will be embedded in a wide range of devices, from TVs to smartphones, and the cost of making your own 3D content will decline.

I’ll also venture a few other predictions. We’ll be watching content on a wide range of devices, starting a program on Blu-ray in the living room and finishing it up on a smartphone or tablet while sitting on the train to work.

Most consumers will actually connect their Internet-connectable TVs to the Internet. Manufacturers will offer a wide range of differentiated Internet-based services, continuing the expansion of the Internet into more aspects of our lives. And we’ll wonder how we ever got along using a TV that wasn’t online.

Original post here: http://www.homemediamagazine.com/people-conversation-with-eisuke-tsuyuzaki-21835

BSkyB amends 3D content rules

BSkyB has changed its regulations to allow more 2D-to-3D converted content within programmes broadcast on its Sky 3D channel.

It is a tacit acknowledgement of the high cost and technical difficulties associated with trying to film stereo 3D content entirely natively with 3D rigs.

Its new guidelines allow up to 25% of non-3D content to be used in any 3D programme, up from the strict 10% of converted material written in its original specifications, published last February.

The new rules came quietly into force last year, but Sky has yet to update the specification on the technical section of its 3D website, introducingsky3d.sky.com.

Sky said the change brought its 3D guidelines into line with its HD guidelines, which dictate that 75% of content should be in true HD.

It said the change was also about taking a “pragmatic approach to supporting the growth of 3D production in the UK”.

The 2D-originated footage must be HD and in segments that do not exceed five minutes during any 15-minute period.

This only applies to post-converted 2D-to-3D material, and Sky is still adamant that automated conversion of 2D HD programmes to 3D is not acceptable as “original 3D content”.

However, it makes an exception for the use of live conversion tools for certain scenes or camera shots during live events.

Original post here: http://www.broadcastnow.co.uk/technology/bskyb-amends-3d-content-rules/5022844.article

< PREVIOUS ARTICLES NEXT ARTICLES >

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.

Oops, something went wrong.