News Stories

Earphones that know when they're in the wrong ear

[New Scientist]

Place the earphone on the right and the sensor points to the back of your head, detecting the ear behind it, while swapping to the left ear means the sensor points in front of you into the open air. A small embedded audio circuit swaps channels when the sensor detects a mismatch.

These new earphones also solve another common listening problem – sharing your ‘phones with a friend, which – as anyone who has listened to just one half of a Beatles song (or any other track with hard audio panning) knows – isn’t the most satisfying musical experience.

When worn by a single user the Universal Earphones run a weak electrical current from one side to the other, but this connection is broken if the earphones are shared between two users, causing each speaker to play both left and right channels through at once.

The researchers will present their work at Intelligent User Interface conference in Lisbon, Portugal later this month, but they also have further plans for improving ordinary earphones, including skin conductance sensors that detect whether the earphones are actually in your ear, which would let them automatically pause or resume your music on removal or insertion.

Read the full story here: http://www.newscientist.com/blogs/onepercent/2012/02/universal-earphones-solve-your.html

Sony’s Highly Personal, Surprisingly Decent 3D Viewer

[Time Magazine]

…then there’s Sony’s Personal 3D Viewer HMZ-T1. The $799.99 gadget is, essentially, a high-definition video View-Master based on 21st-century technology. Instead of looking at the View-Maser’s two tiny frames of film, you look at twin OLED screens which deliver 720P video from an external source. Built-in headphones pump stereo sound into your ears.

The HMZ-T1 is unique, but it’s also a fresh take on an idea Sony first unveiled in 1997. That original version was called the Glasstron; it used LCD screens and didn’t do 3D or HD. The technology has come a long way in the past 15 years.

The HMZ-T1′s dual OLEDs added up to a beautifully colorful, detailed image, and the 3D effect was–this is the first time I’ve used this word in conjunction with 3D–excellent. Instead of wincing and feeling queasy, I marveled at how sharp and subtle it was. Toy Story 3 looked better than it did when I saw it in a theater in 2010. 2D Blu-rays were pleasing, too.

The viewer’s OLEDs may be dinky, but they’re so close to your eyes that they blend into a picture that looks far larger than it is. (Sony says it’s the equivalent of a 750″ screen.) The headphones block out ambient noise, making the whole effect even more enveloping.

Gaming in 3D was also a blast: As I ran around whomping bad guys in Green Lantern: Rise of the Manhunters, the extra dimensionality made it seem a little less like a video game and a little more like virtual reality, (Many current games are 3D-friendly; they’re identified as such on their cases.)

… the quality of the picture makes this a notable product. It provides the rest of the industry a standard to shoot for–and gives skeptics like me definitive proof that 3D video isn’t inherently unpleasant.
Read the full story here: http://techland.time.com/2012/02/02/sonys-highly-personal-surprisingly-decent-3d-viewer/

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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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