News Stories

Scientists recreate deep freeze indoors

[LF Press]

If you were wondering where Ontario’s traditional winter deep freeze went, look no further than Oshawa.

That’s where cameras are rolling inside the Automotive Centre of Excellence (ACE) at the University of Ontario Institute of Technology (UOIT) as a production crew from the United Kingdom, channel SKY 3D, films part of a ground breaking documentary on severe weather.

The crew is shooting in high winds, freezing rain and driving snow in both 3D and 2D – creating the sort of climactic weather events usually a feature of winter in north-east Canada. These segments are destined for the National Geographic Channel in the United States. …

See the full story here: http://www.lfpress.com/news/canada/2012/02/25/19425086.html

Madam Butterfly in 3D, fresh angles

[EuroNews]

It is the most subtle of facial gestures that matter when you go to see a live performance. However, when you go to a grand venue and your seat is not at the front of the house for reasons of being tardy in obtaining your ticket or lack of inclination to pay a premium, you will suffer a major blow. You will miss those crucial details.

That is why I say opera in 3D cinemas is a good experience and removes the obstacle of distance that is a common opera house problem. And it’s more accessible because of its lower price tag.

Madam Butterfly 3D is such an example. The 3D format – if you can forgive the clunky glasses – creates an intimacy that resembles front row viewing. It goes one level up when the camera hovers overhead and pans across, giving a sensation that wouldn’t be possible for a human being without powers of flying in low speed.

This is the second collaboration between London’s Royal Opera House and RealD that captures a live performance with 3D cameras and brings it for worldwide cinema screenings. The first experience was Carmen 3D.

Madam Butterfly 3D is directed for cinema by Julian Napier and produced by Phil Streather. The original stage production was directed by Moshe Leiser and Patrice Caurier with costume designs by Agostino Cavalca and set designs by Christian Fenouillat. The music is by Giacomo Puccini and the libretto by Giuseppe Giacosa and Luigi Illica. It was filmed in RealD 3D during live performances at the Royal Opera House in July 2011. It will be released in the UK March 5.

See the full story here: http://www.euronews.net/2012/02/24/madam-butterfly-in-3d-fresh-angles-/

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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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