News Stories

DisplaySearch: 2011 TV Market Outlook Reduced in Latest Forecast

7.27.2011

 

[Excerpts]

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New technologies, like LED backlights and 3D, are helping to keep overall LCD TV prices very stable in 2011, falling only 7% Y/Y on a volume weighted average basis, which in turn will keep revenue growth slightly positive. However, LCD TV revenues should start to decline around 2013 when these new features see a more significant drop in price premium. LED-backlit sets will account for about 46% of total 2011 LCD TV unit shipments, while 3D-capable sets account for 8%.
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The worldwide forecast for 3D TVs was not significantly changed. 3D TVs are expected to account for about 20M in 2011, rising to more than 100M shipped by 2015. Although some consumer confusion about technology and standards is likely to persist, the falling premium and cost associated with 3D will make it a standard feature of 40″ and larger sets. In 2011, almost a quarter of 40″ and larger TVs shipped worldwide will be 3D capable, rising to 84% by 2015.

Read the full story here: http://www.sfgate.com/cgi-bin/article.cgi?f=/g/a/2011/07/27/prweb8670774.DTL

Does a 3D trademark registration give you invincibility in China?

7.27.2011

Following a recent judgment from the Guangdong High Court, the answer to this question seems to be “no”. 

The dispute concerned the use of a square-based brown bottle by Guangdong Kaiping WeiShiDa Seasoning Co Ltd, which allegedly infringed Nestlé’s registered rights in the three-dimensional (3D) mark for a brown bottle with a yellow cap (for its Maggi sauce) under International Registration 640537, obtained in 1995 (and extended to China in 2005). 

On appeal of a declaration of non-infringement sought by WeiShiDa, the Guangdong High Court upheld the judgment of the Jiangmen Intermediate Court in WeiShiDa’s favour on the basis that:

  • Nestlé’s 3D mark, albeit registered, was relatively weak in terms of distinctiveness.
  • Before Nestlé’s registration in China in 2005, some Chinese enterprises, including WeiShiDa, had already used similar bottles in their packaging for their seasoning products.
  • Nestlé’s 3D mark was not sufficiently well known in China.
  • WeiShiDa used the brown bottle only by way of packaging with the brand “WeiShiDa MASTER” prominently placed thereon; as a result, consumers associated the products exclusively with WeiShiDa and there could be no consumer confusion as to the origin of the products.

Despite its registration, in this instance Nestlé failed to secure exclusive use of its brown bottle in China. Whether this can be attributed to China’s protectionism or to Nestlé’s failure to react promptly to WeiShiDa’s use remains unknown. 

The Chinese trademark regime will continue to evolve. In order to meet the challenges ahead, brand owners should equip themselves with a strategy that is compatible with the conditions in China.

Read the full, short post here: http://www.iam-magazine.com/reports/detail.aspx?g=9aded899-d475-4e63-8aad-4a23e3e64483

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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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