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Puss in Boots Blu-ray 3D Review

[Big Picture Big Sound]

The Picture

As with almost all DreamWorks Animation, the detail evident in the 2.4:1 Puss in Boots is simply tremendous, and the cat fur in particular here makes the most of HD, popping with individual strands. Humpty’s eggshell texture and tiny spots make us want to reach out and touch the egg man, with the grain on the ubiquitous wooden trappings is extremely realistic.

The movie has been composed and animated quite dynamically to truly flaunt the 3D technology, with drastic use of focus in the deeper shots, but also tiny bubbles and specks of dust dancing before our spectacled eyes. The sprawling vistas are gorgeous, and the ascension of the beanstalk is surely a worthy 3D showoff scene.

The Sound

Hang on for lots of wild action that displays bold directionality all around the 7.1-channel soundstage in this topnotch Dolby TrueHD track. That cat goes through most of his nine lives amid chases and shooting and throwing blades and more. The bass is clean and powerful, used especially well to convey the giant environments and characters. The surrounds are pleasingly active throughout the film.

The Extras

In 3D, the only extra is the new animated short (13 minutes), “Puss in Boots: The Three Diablos,” set shortly after the events of the feature film so resist the temptation to watch it first. A 3D trailer for the upcoming Madagascar 3: Europe’s Most Wanted is also included.

See the full review here: http://www.bigpicturebigsound.com/Puss-in-Boots-Blu-ray-3D.shtml

Sony outs Seven new Cyber-shot Cameras

[slashgear]

The DSC-HX200V is the largest bodied device of the bunch, having 30x optical zoom, DSLR-style controls, and a set of the latest Cyber-shot technologies like Full HD 50m video. This device is able to take on audio with superior audio recording abilities, high-speed autofocus, 3D shooting (believe it or not) and a full gamut of picture effects. This device also has a quick AF speed which allows you “approximately 0.13 seconds in daylight and 0.21 seconds in low-light at 3 EV,” as Sony notes.

See the full story here: http://www.slashgear.com/sony-outs-seven-new-cyber-shot-cameras-28215945/

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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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