News Stories

3D advertising boosts Red Bull sales by 8.5%

[3D Focus]

A recent study conducted for Red Bull by the University of Tilburg and Dimenco Displays found that glasses free 3D ads achieved 45% more viewer attention and an 8.5% increase in sales.

…  “With the specially developed eye-tracking software we were able to measure the exact viewing time of the customer”, according to researcher MS. Van Grootel of the University of Tilburg. “We collected more than 15.000 eye-trackings and we interviewed more than 180 customers for this study”.

….  According to the data on average, a customer looked at the 3D screen 3 seconds longer than the 2D screen (10.92 seconds) which translates to a 45% increase of attention and a 75% increase compared to no display at all.

Dimenco are currently showcasing their new range of autostereoscopic displays and ultra-thin glasses free 3D video wall at ISE.
3D Focus believes a wider study needs to be implemented with more respondents (at least 1000) and more samples of each type of cooler. Hopefully this will lead to such a survey but there was no doubting the attention grabbing properties of the 28 view screens during ISE as people stared at the screens in bewilderment.

LG Can Market “Passive” Cinema 3D TVs As Full HD, ASA Rules

[HDTV test]

The Advertising Standards Authority (ASA) – the independent regulator of media advertising in the United Kingdom – has this week ruled that LG Electronics can market its Cinema 3D TVs as “Full HD”, but only if the Korean manufacturer states clearly in its advertisements that the effect is achieved via passive 3D system. The adjudication came about following complaints made by cross-town rival Samsung and a technology journalist.

LG and Samsung Electronics have been embroiled in a bitter 3DTV format war ever since the former unveiled its FPR (film-type patterned retarder) passive 3D LCD technology which has proved popular among consumers primarily due to the affordability, comfort and convenience (no battery, charging nor synchronisation required) of the polarized 3D glasses. Meanwhile, Samsung has on numerous occasions championed the superior resolution delivered by its active-shutter extra-dimensional HDTV displays in 3D mode.

In its defence, LG argued that even though its FPR passive 3D technology only delivers 540 lines of resolution to each eye, the simultaneous delivery of both odd and even lines within a single frame of image means that all 1080 lines of information will be perceived by the viewer’s brain. The company also provided third-party verification from an independent test lab, which supports LG’s claim that its Cinema 3D TVs are indeed “Full HD”.  …

Read the full story here: http://www.hdtvtest.co.uk/news/lg-passive-full-hd-201202021648.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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