News Stories

Cinedigm releasing Carpenter film

[By Scott Hettrick, Hollywood in High Def]

Cinedigm Digital Cinema Corp has partnered with ARC Entertainment and XLrator Media to distribute filmmaker John Carpenter’s “The Ward” to select digital cinema locations across the United States on July 8. The psychological thriller about a young woman in a mental institution (Amber Heard) who is terrorized by a mysterious and deadly ghost co-stars Mamie Gummer, Danielle Panabaker, Lyndsy Fonseca and Jared Harris. Carpenter has directed films such as the original “Halloween,” “The Thing,” and “Escape From New York.” See the original post here: http://hollywoodinhidef.com/2011/05/cinedigm-releasing-carpenter-film/

An overview: RealD 3D vs. Imax Digital 3D

[By Timothy Fernandez, CNET]

3D movies are nothing new these days, with polarized glasses used almost exclusively in 3D cinemas throughout the world. Most of us who’ve caught a 3D movie at the cinemas recently, probably experienced the more common RealD 3D technology. 

A few weeks ago, Singapore cinema operator, Shaw Organization, opened its doors to the country’s first Imax Digital 3D screen. Larger countries in Asia have several Imax screens. South Korea, for example, boasts about 10 screens while the Philippines has four. China–unsurprisingly–has over 20. Keep in mind that not all Imax cinemas are capable of screening digital or 3D movies since they require different projectors. 

How do Imax Digital 3D movies compare with their RealD 3D counterparts? Here’s what we know. 

RealD 3D vs. Imax Digital 3D

RealD 3D and Imax Digital 3D both utilize passive 3D technology which makes use of relatively lightweight eyewear. These passive 3D glasses use polarizing filters to allow each eye to see a slightly different image. HDTVs like LG’s latest Cinema 3D TVs work in a similar fashion. You can learn more about the various 3D TV technologies here.

 

Brief technology overview

RealD 3D: The prevalent technology in 3D cinemas worldwide comes from RealD, an American company founded in 2003. The RealD 3D format is natively digital. This means that movies have to be produced in a digital 3D format for projection on film-less digital projectors. RealD cinemas also use the passive circular polarizing technique to achieve 3D which allows viewers a clear image even when turning or tilting their heads. The first RealD 3D movie screened was Chicken Little in 2005.

 

Imax Digital 3D: This is a similar format that also uses polarizing glasses. Imax Digital 3D is an evolutionary improvement of analog Imax 3D theaters that have been around since 1986. Its long history is evident even in the much newer Imax Digital 3D theaters since they still utilize the linear polarizing technology of its analog predecessors. Unlike RealD, Imax 3D movies are less tolerant of head movements. Viewers have to avoid tilting their heads, though some turning–probably unavoidable due to the massive Imax screen format–is possible. Also, Imax screens are curved to fill a viewer’s field-of-view, which enhances immersion while giving those sitting at the sides a better view of the action. 

Note: We will not be discussing analog Imax 3D theaters for this article since it is meant to contrast the two dominant digital 3D formats currently available in cinemas.

Why do Imax Digital 3D movies cost more?

 

3D ticket prices vary across Asia but Imax Digital 3D tickets typically cost more than their RealD 3D counterparts. In Singapore, a weekday ticket to the recent Pirates of the Caribbean movie at the Lido Cineplex costs S$19 on Imax Digital 3D and a mere S$11 on RealD 3D. At an AMC (a US movie theater chain) cinema in Los Angeles, the same Imax Digital 3D movie costs US$19.50, which is US$2 to US$5 more than the equivalent RealD screening. 

Theater audiences are paying more for Imax 3D movies for a few possible reasons. The first being the much larger screen such cinemas are known for that could contribute to a more immersive 3D experience. Other reasons include better sound and a potentially brighter image. 

Aside from the larger screen size, there are other notable differences between Imax Digital 3D and RealD 3D. RealD 3D projectors like Sony’s 4K Digital Cinema models use a special lens to project 3D visuals giving viewers four times the resolution of full-HD 1080p. 

Imax Digital 3D theaters, on the other hand, use Christie 2K dual-projector systems which give the same resolution as full-HD. These projectors are larger than Sony’s latest projector.

See the original post here: http://asia.cnet.com/an-overview-reald-3d-vs-imax-digital-3d-62208932.htm

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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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