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Metadata 3D Initiative

Why m3Di?

The proliferation of solutions for 3D capture, have arrived with proprietary solutions, which force the final users to use some brands exclusively to prevent incompatibility issues (as the providers of that technology say). 
The 20/20 3D Media Spatial Sound and Vision research project, funded by the European Union, has been developed in parallel with the nowadays 3D renaissance, and by facing this kind of challenges while building the technology for the project, presents an initiative for standardization of metadata for 3D, named M3DI (Initiative on 3D Metadata), and that is offered as an input for future standardization activities. This initiative has already raised the interest of important players in the different stages of the incipient 3D industry.

The proposal

m3Di is proposing a standard for 3D metadata communication in order to make interoperable lenses, cameras, rigs and stereoscopic image processors used in 3D productions, in a way that all the products accomplishing that standard, would allow final customers to replace any item of the production chain with no major impact in the 3D workflow, giving freedom of choice and ensuring interoperability.

Learn more, including a list of the companies interested in participating, here: http://www.m3di.org/

The Ultimate Broadband Enabled Device Matrix, With Tech Specs & Content Platforms (Related to 3D)

[by Dan Rayburn, Streaming Media]

Two weeks ago, at the Streaming Media East show, we had the ultimate over-the-top video display we called the Broadband Device Pavilion. Attendees had the chance to get hands-on with more than three dozen devices and content platforms and we handed out a device matrix chart that listed all the devices tech specs and content platforms they support. You can now download a digital copy of that chart below.

The chart was printed a few weeks before the show, and there have been a few changes since then, like the addition of the EPIX HD platform to some of the devices. We will be updating this chart a few times throughout the year and you can send any additions or errors you spot to me directly. We’ll also be doing another chart like this for Blu-ray players and possibly connected TVs.

In addition, many of the device and platform vendors were nice enough to give us some hardware devices and content subscriptions and I still have a few items left from the show that I will be giving away on the blog over the next few weeks. We’ll be doing the Broadband Enabled Device Pavilion again next year, and many even later in the year for our LA show. So if you are a CE vendor that wants to have your hardware showcased, please contact me.

A big thank you to the following companies who supported the pavilion and worked with us to make it happen: Samsung, Boxee, TiVo, Microsoft (Xbox), Roku, Logitech, Western Digital, MLB.TV, Netflix, Blockbuster, Hulu, VUDU, OnLive and HBO.

Updated 5/25: Corrections noted so far. YouTube is no longer supported on the Roku. The Logitech Revue has DLNA support. The Wii has a browser.

 

See the original post here: http://blog.streamingmedia.com/the_business_of_online_vi/2011/05/the-ultimate-broadband-enabled-devices-matrix-with-tech-specs-content-platforms.html

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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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