News Stories

3D ‘Jack the Giant Killer’ filming underway

5.30.2011

[by Manila Bulletin]

Singer’s 3D epic action-adventure “Jack the Giant Killer,” with Nicholas Hoult in the title role of Jack, for New Line Cinema and Legendary Pictures.

 

“Jack the Giant Killer” tells the story of an ancient war that is reignited when a young farmhand unwittingly opens a gateway between our world and a fearsome race of giants. Unleashed on the Earth for the first time in centuries, the giants strive to reclaim the land they once lost, forcing the young man, Jack, into the battle of his life to stop them.  Fighting for a kingdom, its people, and the love of a brave princess, he comes face to face with the unstoppable warriors he thought only existed in legend—and gets the chance to become a legend himself.

 

Hoult and Singer recently collaborated on “X-Men: First Class”—which the latter produced—for release later this year. “Jack the Giant Killer” also stars Eleanor Tomlinson as Princess Isabelle; Stanley Tucci (“Captain America: The First Avenger,” “Julie & Julia”) as the deceitful Lord Roderick; Ian McShane (“Pirates of the Caribbean: On Stranger Tides,” HBO’s “Deadwood”) as the besieged King Brahmwell; Bill Nighy (“Harry Potter and the Deathly Hallows”) as the giants’ leader General Fallon; and Ewan McGregor (“Star Wars,” “The Ghost Writer”) as palace guard Elmont.

 

Singer will direct from a screenplay by Darren Lemke and Christopher McQuarrie and Dan Studney, story by Darren Lemke & David Dobkin. The film will be produced by Neal Moritz, David Dobkin, Bryan Singer and Patrick McCormick.

 

The creative filmmaking team includes Singer’s longtime collaborators, director of photography Newton Thomas Sigel (“X-Men,” “Superman Returns”) and editor John Ottman (“X2,” “Superman Returns”). The production designer is Gavin Bocquet (“Star Wars: Episode III – Revenge of the Sith”).

 

“Jack the Giant Killer” is filming on location in and around London, and is scheduled for a summer 2012 release.

 

A New Line Cinema presentation, in association with Legendary Pictures, the film will be distributed by Warner Bros. Pictures, a Warner Bros. Entertainment Company.

See the original post here: http://www.mb.com.ph/articles/320516/3d-jack-giant-killer-filming-underway

MasterImage 3D makes the autostereo tech available for developers

5.30.2011

[Press Release]

MasterImage 3D today announced the availability of its new CELL reference tablet, giving developers and designers access to MasterImage 3D’s patented Cell-Matrix Parallax Barrier technology.  The CELL tablet is based on PandaBoard—the OMAP4430 applications processor-based mobile software development platform.  MasterImage 3D leverages the OMAP™ 4 platform technology from Texas Instruments Incorporated (TI) to add cutting-edge features to its popular Autostereoscopic “glasses free” 3D display. A demonstration of the new CELL reference tablet will be hosted by MasterImage 3D at their booth at Computex Taipei 2011, Hall 3 booths G766/G768.

“The depth and breadth of TI’s expertise will enable MasterImage 3D to deliver the industry’s most innovative AS3D solutions,” said Roy Taylor Executive Vice President and General Manager of MasterImage 3D Display. “By integrating the OMAP 4 platform-based PandaBoard into our next-generation systems, we can provide high performance development platforms for the most demanding developers.”

Consumer electronics leaders are aggressively including AS3D in new devices to enhance user-experience, allowing them to view user-generated images and video, 3D movies, games, apps and eye-popping user-interface design.  MasterImage 3D is the fastest growing stereo 3D company in the world with a successful 3D cinema business including over 3,000 3D digital cinema system installations in over 60 countries.  Its display business is about to power dozens of new smartphone, tablet, car and aircraft display design wins.

The MasterImage 3D mobile display is based its patented cell-matrix parallax barrier, which uses a ‘cell gap’ approach to let users switch easily between landscape and portrait modes and between 3D and 2D functions.  As more polarized light passes through, images are brighter and ‘ghosting’ is reduced so it allows for the sharpest quality across all content categories (video, games, apps, user-interface, photos).  The MasterImage 3D technology works with any kind of display, from TFT to OLED, PDP and more, and the company’s patented manufacturing process for its 3D displays delivers an extremely high production yield while keeping costs low.

“TI is pleased to work with MasterImage 3D, whose visionary commitment to the user-experience has inspired new uses for glasses-free stereo 3D technology,” said Fred Cohen, director, OMAP wireless ecosystem, TI. “With the broadest portfolio of maximum performance SOC solutions, we can provide all the pieces and advanced features required for exciting new AS3D consumer products.”

MasterImage 3D’s CELL reference tablet is currently available in 4.3” and 7.0” with 10.1” coming this summer.  Contact the company directly on how to gain more information.  Visit MasterImage 3D’s booth to see glasses-free mobile 3D of some of the latest summer’s big 3D blockbusters, AAA 3D games, video from 3D studio, Digital Revolution Studios and 3D UI from Rigthware.

See the original press release here: http://masterimage3d.com/981

< 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.