News Stories

The Hype Cycle of 3D TV

[by 3DContentBlog]

Chill Everybody! Let us not overreact, and here is why:

Hardly a week passes without some great new 3D statistics (see herehere, andhere for examples) or announcements by major players (see BBCCBS, or Orange). At the same time there are also a lot of sceptic commentary from media executives, producers, research companies and consumers. So, should we be optimistic or pessimistic about the future of 3D? And why are there so many divergent views on the matter?

I think at this point it makes sense to take a look at the classic hype cycle, a “graphic representation of the maturity, adoption and social application” (Wikipedia) of technologies. The research firm Gartner coined this term and this memorable chart.

My point here is not to convince you that 3D is at one particular stage or another today. To be honest, it would take a good analyst to locate the respective positions for 3D cameras, 3D TVs, etc. No, my point is simply

that it is completely normal to see so many ups and downs in a new technology. Yes, there will be the sceptics and the people who have vested interst in 3D not succeeding (typically larger players who are adopting change at a slower rate) and there will also be the optimistis (typically start ups and  new players who are completely vested into this new technology – like me for instance).

Compare this to the stockmarket. On every given day you will see many reasons to buy or sell a stock and you could easily spent your whole life analyzing. But, what are the “fundamentals” behind this trend. So let´s look at what really matters, and, hint, it is not any particular announcement:

1. 3D Cameras

are becoming more and more commodized (cheaper)

2. 3D Channels

are acquiring new content fast; are being launched in most larger markets before Christmas season

3. 3D TVs

are becoming more and more commodized and the manufacturers are starting to offercontent along with the TVs.

4. 3D Content

there is plenty of it, and there will be much much more (see here).

So, let us all chill, and look beyond the weekly flood of 3D announcements. The third dimension is here to stay and the best response to negative news is to look at Gartner´s hype cycle and to refer to the reaction to Color TV in the 1960s.

 

See the original post here: http://www.3dcontentblog.com/

 

THE ultimate stereoscopic camera

[by Stereoscopy News]

In 2013, ESA will launch Gaia, the most powerfull stereoscopic camera ever build to the L2 Lagrange point (a million-and-a-half kilometres from Earth) where it will stay taking pictures for at least 5 years. Gaia will catalogue a thousand million stars, producing 10,000 times more data than the previous Hipparcos mission.

The on-board gigapixel stereoscopic cameras were not designed with hairdressers in mind. However, they will have the capacity of measuring the diameter of a human hair at 1000 km!

The European Space Agency (ESA) has announced the completion of the cameras that’s to be used in Gaia: a billion-pixel mosaic comprising 106 individual CCDs in a 0.5×1 meter array.

Although Gaia’s transmitter is weak, it will be able to maintain the transmission at an 5 Mbps data rate from a distance of 1.5 million km. ESA’s most powerful ground stations, the 35 m-diameter radio dishes in Cebreros, Spain, and New Norcia, Australia, will intercept the faint signal. Gaia will always point away from the Sun.

After launch, it will unfold a ‘skirt’ that consists of a dozen separate panels. These will deploy into a roughly circular disc, just over 10 m in diameter that performs two functions: sunshade, which will permanently shade the telescopes in the payload module and allow their temperatures to drop to –100°C. The other function is to generate power for the spacecraft, so its surface will be partially covered with solar panels to generate electricity.

 

See the original post here: http://stereoscopynews.com/hotnews/history/digital/1706-the-ultimate-stereoscopic-camera.html

Find more info on Gaia here: http://sci.esa.int/science-e/www/area/index.cfm?fareaid=26

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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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