News Stories

Acoustic3D takes sound to the third dimension

2.24.2012

[ARN Net]

…

Following 21 years of research and development, Acoustic3D’s founder and managing director, Joe Hayes, has transformed the concept of 3D sound into a range of 70 watt ‘acoustic hologram generators’, as he prefers to call them. …

Hayes said, “It works by removing the immediate environments acoustics – it negates this room and stops all echoes – and then unpacks the acoustics and space within the recording itself.”

During a brief test drive, we found that it is able to produce a contextual experience based on the environment of the recording.

For example, during a sound clip of a neighbourhood park, its depth of field allowed us to distinguish between nearby chatter, distant birds, and passing vehicles, and with an opera song, it generated a concert-like feel, as if we were at a performance. …

Read the full story here: http://www.arnnet.com.au/article/416397/acoustic3d_takes_sound_third_dimension/

Mad rush to market hurt 3D TV sales, prices are stabilising, claims CES VP

2.24.2012

[Current.com]

In the frantic rush to get 3D TVs out onto the market, leading suppliers made mistakes that led to disappointing sales results, according to Brian Markwalter, the senior vice president, research and standards, of the Consumer Electronics Association, the industry group that organises the annual CES conference in Las Vegas.

In Sydney to speak at the Australia Broadcasting Summit and to promote the 2013 International CES, Markwalter said the extreme competitiveness of the major suppliers compelled them to act too quickly, resulting in confusion and a lack of a clear message about 3D.

“Because it’s such a competitive industry, once they all know what the other one was doing, they all rushed headlong into 3D — and then the reality hit: we need content, we need glasses, we need retailers to understand how to show this stuff,” Markwalter told Current.com.au.

As a result of this passionate intensity, the hype surrounding 3D outweighed the ability of the suppliers to deliver hardware, a problem exacerbated by the paucity of native 3D content at the time. Markwalter used the phrase “over amplified” to describe the prevailing sentiment.

When asked for specific errors made by the major suppliers, Markwalter identified a lack of standardisation across the category,  …

Read the full story here: http://www.current.com.au/2012/02/24/article/Mad-rush-to-market-hurt-3D-TV-sales-prices-are-stabilising-claims-CES-VP/UULUGCUOVP.html

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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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