News Stories

2011: The Year In 3D

[IndieWire]

…we are plunging headlong into the fray to take a look back at what 3D did for 2011 at the movies, and what 2011 did for 3D.  …

Beginning And End Of Year Snapshots
Firstly, it should be noted that we leave 2011 in much a much better frame of mind towards 3D than we entered it: January’s big 3D release The Green Hornet” was a mess, and displayed the worst excesses of both a post-conversion cash grab, and a substandard generic January release. Spin forward twelve months and we get Martin Scorsese’s “Hugo — everything ‘Hornet’ was not — shot in 3D, lovingly designed for the format, and a celebration of its dramatic potential that detractors (like us) hadn’t really glimpsed. While perfect for grandeur and spectacle, even “Avatar” arguably didn’t immerse us in the dramatic texture that Scorsese demonstrated in “Hugo.” Perhaps this is why James Cameron himself started doing the press rounds with Scorsese, clearly impressed with what a true artist and auteur could bring to the medium.

The Emergence of Arthouse 3D …

Let’s Not Get Too Excited …

(Credit) Crunching The Numbers
If such additional revenue is actually to be had. And here’s where we get into the choppy waters of trying to analyze 2011’s 3D box office stats without our heads exploding.  …

Sequels Make Money, 3D Or Not
So bearing in mind that there exist more sophisticated matrices of market analysis than ours (which consists of Box Office Mojo, a calculator and a tub of mango yogurt for sustenance), what is the 3D bottom line for 2011? As far as we can make out, 3D movies, year to date, brought in approximately $3.175 billion domestically: a little over a third of 2011’s $9.244 billion domestic overall total.  …

Michael Bay To The Rescue …

National Treasure Declares Format Dead …

Cynical Casher-Inners Cash In, Cynically
Maybe it’s a hangover of the sense of possibility that “Hugo” left us with, and to a lesser extent, Spielberg’s “The Adventures of Tintin” and the last ‘Harry Potter,’ but even we have to admit grudgingly that on rare occasions, 3D can genuinely add something to the filmgoing experience that might be worth a few extra quid (though maybe not the further added charge for glassesthat Sony is threatening us with). Absolutely not, however, in the case of the aforementioned goddamned reissues. “Top Gun 3D”? Really? And let’s not forget to lay a wreath at the graveside of George Lucas’ integrity, as he goes back to the “Star Wars” well for the gazumpteenth time to 3D-imify and re-release those hideous prequels.  …

The Nostalgia Cash-In …

We Can’t Beat Them, So We Join Them (Sorta)
If you sense a certain resignation in our demeanor, you’d be right. While we’re as wary about some of the mooted 3D projects as ever (we’re um, curious to see how Baz Luhrmann makes longing and heartbreak boing off the screen into our laps in “The Great Gatsby 3D,” for example), we’ve also been given more reason than before to be hopeful that the format may yet yield a few further gems (Alfonso Cuaron’s epic spacy odyssey in 3D, “Gravity,” we’re looking at you and to a slightly lesser degree, “The Hobbit”). And since we can’t expect ‘Avatar’s 2 and 3 until 2014 and probably 2015, it’s unlikely we’ll see anything like a cessation in 3D moviemaking before then (never, ever bet against Cameron). So, you know, we have serious reservations, but also a dose of cautious optimism that we absolutely didn’t feel this time last year. Yes, we no doubt have yet to suffer the worst that 3D is going to literally throw at us …, but maybe for every ten bad/mediocre efforts, we’ll get a good one. That ratio, after all, is not so very different from that of the standard-format movies that we deal with every day, and it hasn’t dimmed our enthusiasm for those, now has it?

See the full story here: http://blogs.indiewire.com/theplaylist/2011-the-year-in-3d

5 Video Game Moments that Defined 2011

[Mashable]

1. The Next Generation of Consoles

This year introduced tons of new consoles and systems. Nintendo launched the 3DS, a handheld system that provided glasses-free 3D visuals, as well as the Nintendo Wii U, a console that features a tablet-like controller and asynchronous play. Nintendo has always pushed the boundaries of gaming and is almost always successful (cough, Virtua Boy). The Wii U will let users interact with a screen by using the tablet interface or pair the tablet with Wii controllers. One example had players throwing digital stars from their lap to the screen and another showed a golf game controlled by placing the tablet on the ground like a tee and swinging the Wii controller like a club.

The 3DS was a bit of a bust, sales-wise, for Nintendo. This might be due to the high sales of the DS and the pending launch of Sony’s PlayStation Vita, a powerful handheld with two touchscreens, an array of internal sensors and a graphics engine that can trounce any other mobile device.

See the full story here: http://mashable.com/2011/12/29/video-games-2011-review/

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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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