News Stories

My first photowalk with Lytro’s light field camera (by Robert Scoble)

[Business Insider]

So, how was it?

Both disappointing and enthralling.

But first, this is NOT a review. It’s just an early look at a product that hasn’t yet shipped (they expect to ship them sometime in Q1, 2012, so by April 1, although first units might start shipping in February). The software isn’t done, and Eric showed me a few things that they are working on for the future.

You’ll have to wait for an official “review” of the final camera.

So, why was it disappointing?

Well, if you just want the ultimately sharpest photo, this isn’t a camera for you (it won’t do 22 megapixel photos like my Canon 5D MKII will, and the images are generally good enough for on-screen use but if you want to blow them up to wall sized images, this isn’t a camera for you).
If you like having a huge choice of lenses, this isn’t a camera for you.
If you want to shoot action sports, this isn’t a camera for you.
If you want to see through the viewfinder to choose your own focus point, this isn’t a camera for you.
If you want the best low-light performance, then this isn’t a camera for you.

But why is it enthralling?

It let me see the world in a new way. I no longer needed to worry about focus. In fact, I quickly learned that there’s a kind of photo that only works on the Lytro: one where you can get very close to the subject and just shoot, without any worry about where the focus is.

Plus, coming sometime after the camera ships you can turn each image into a 3D image. I saw some examples from Eric’s computer on my 65-inch Vizio 3D TV and they rocked.

Read the full story here: http://www.businessinsider.com/my-first-photowalk-with-lytros-lightfield-camera-2011-12

NPD DisplaySearch: 3D TV Gaining Momentum in Western Europe and China, Declining in North America

[Press Release]

Consumer behavior and TV set maker strategies are resulting in widely diverging TV product ranges across the world. While the industry is truly global, regional differences are increasing. For 3D, the most enthusiastic regions are Western Europe and China, while the mix of 3D in North America actually declined in Q3’11, according to the Q4’11 NPD DisplaySearch Quarterly TV Design and Features Report.

We were surprised to find that 3D appears to be a far more popular feature in China than North America, and the penetration rate was two times higher in the last quarter,” said Paul Gray, Director of TV Electronics Research, NPD DisplaySearch. “Our report also indicates that North American and Japanese 3D penetration is lower than the Middle East.”

The report finds that North American consumers favor large, inexpensive TV sets with fewer features, unlike other regions. Chinese consumers are enthusiastic about richly-featured sets with 3D, LED backlighting and smart TV capabilities.

The report also examines the growth of smart TV in different regions and reveals that there are several emerging markets where fixed broadband appears to be leapfrogged by consumers. In Saudi Arabia, Poland, the Philippines and Indonesia, there are 10 to 15 times as many 3G subscribers as broadband. These consumers still want to view internet video on their TVs, but the usage is totally different in developed markets where the TV is connected directly to a wired broadband line.

This theme of simultaneous new technology adoption is also clear in digital broadcasting. While developed markets have not only introduced digital terrestrial and largely completed analog switch-off, a second generation of digital broadcast (DVB-T2) is now being adopted in Europe, the Middle East and Asia.

The report uniquely forecasts the prospects for DVB-T2 reception in TV. It finds that a critical mass of countries have now adopted or committed to DVB-T2. Shipments of DVB-T2-enabled sets are expected to grow from 3.4 million in 2011 to 64.7 million in 2015.

”By 2015 the number of DVB-T and DVB-T2 sets shipped will be equal,” added Gray. “The decision by the Russian and Indian governments to move to T2 has given the industry a huge boost in confidence, and it will kick-start a virtuous cycle of rapid adoption and cost reduction.”

The report finds the new digital transmission technology is not only being introduced in mature markets like the UK and Sweden, but also in Nigeria and Kenya.

The NPD DisplaySearch Quarterly TV Design and Features Report is a quarterly update of the issues and rapid shifts in TV feature developments. The 250+ page report examines and forecasts video processor and signal processing IC market development, including 120/100 and 200/240 Hz frame rates as well as market shares for major IC vendors. In addition, the report also features forecasting for MPEG-4 decoding and the digital broadcast environment around the world, including forecasts for the following technologies: DVB-T2; TV connectivity, such as wired and wireless networked TVs; LED backlighting; 3D-capability and implementation; remote controls and chassis design; and power consumption.

See the original press release here: http://www.prweb.com/releases/DisplaySearch/3DTV/prweb9063643.htm

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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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