News Stories

3net Plans Huge Programming Rollout for June

[by TV Technology]

3net is set to premiere a large block of original programming for the month of June, the company has reported. 

Amounting to over 20 hours of native 3D content, it is being lauded as the largest rollout of 3D programming in the history of television. The all-new episodes of signature 3net shows cover a variety of genres including natural history, culture, adventure and entertainment. 

The announcement was made by 3net President and CEO Tom Cosgrove. “[We] are further solidifying the leadership position of our joint venture partners in the 3D space by offering the kind of quantity and quality of programming that drives in-home 3D adoption and combats the misconception that in-home 3D offerings are scarce,” Cosgrove said in a press release. 

The 3net premiere schedule for June includes: 

June 1 – AFRICAN WILD “Gannets” 
June 2 – HIGH OCTANE “Ice Climbing vs. Sandrails” 
June 3 – EXPERIENCE 3D “New York Ships” 
June 4 – CHINA REVEALED “Dunhuang” 
June 8 – FEEDING TIME “Penguins, Polar Bears, Lemurs and Rhinos”

 

June 9 – HIGH OCTANE “Surfing vs. Freerunning” 
June 10 – EXPERIENCE 3D “Malibu” 
June 10 – EXPERIENCE 3D “Road to Hana” 
June 11 – JEWELS OF THE WORLD “Fiorland” 
June 15 – FEEDING TIME “Monkeys, Elephants, Otters and Grizzlies” 
June 16 – HIGH OCTANE – “Street and Park Skateboarding vs. ATV and UTV” 
June 17 – BUILDING THE BRAND “John Deere” 
June 17 – EXPERIENCE 3D “Rock Climbing” 
June 18 – CHINA REVEALED “Harbin” 
June 22 – AFRICAN WILD “Penguins” 
June 23 – LIVE FIRE “Army NTC” 
June 24 – EXPERIENCE 3D “Racecars” 
June 24 – BUILDING THE BRAND “Trek Bicycles” 
June 25 – JEWELS OF THE WORLD “Santorini” 
June 25 – JEWELS OF THE WORLD “Rome” 
June 26 – IN THE QUBE “Red, White and Blue” 
June 30 – HIGH OCTANE “Inline Skate vs. Freestyle Motor Bikes” 

A joint venture 24/7 3D network from Sony, Discovery and IMAX, 3net operates with the mission of bringing viewers the highest quality and most immersive in-home 3D viewing experience possible.

See the original story here: http://www.tvtechnology.com/article/120898

ACS’ 3D Railcam at Heineken Cup Final

[by Stereoscopy News]

Covering the Heineken Cup Final in Cardiff on the 21st May, the Aerial Camera System (ACS, Godalming, UK) railcam was fitted with a Stab-C COMPACT stabilised mount supporting an Element Technica Pulsar 3D mirror rig. (Hi-res picture here under).

Two Sony P1 cameras fitted with HJ22 lenses were installed in the Pulsar rig in the under through configuration.  The mirror rig and camera combination was controlled and powered via one SMPTE cable, utilising a Telecast Copperhead 3G Fibre transmission unit with real time correction of the 3D output via a Sony MPE200 processor.

You may have a look at the Heineken Cup Final railcam 3D hi-res picture (2268×1701 pixels, 2.5Mb) or visit ACS

See the original post here: http://stereoscopynews.com/hotnews/hotnews-1/hotnews-2/1568-acs-3d-railcam-at-heineken-cup-final.html

< 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.