News Stories

Thomas Jefferson: The Smithsonian's 3D printing pioneer

[CNET]

As part of an exhibit at the National Museum of African American History called “Slavery at Jefferson’s Monticello: Paradox of Liberty,” curators needed a great statue of Thomas Jefferson, but the one they would most like to have had was on permanent display at Monticello in Virginia. Rather than using traditional methods–with rubber molding and casting–a team at the Smithsonian decided to pursue a museum-quality 3D printed replica.

The result? What the Smithsonian says is the “largest 3D printed museum quality historical replica” on Earth. And now, it’s also the showpiece that begins a much larger effort at the world’s biggest museum and research institution: a move to create digital 3D models and physical 3D prints of a wide variety of the objects in its archive.

This could have a profound effect if the effort is successful over time. Visitors to the Smithsonian’s many arms see just 2 percent of its giant collection, and widespread digitization could mean that the archives are opened up–virtually, at least–to people throughout the country and the world. And that could be a boon to both researchers and educators, as well as students everywhere.

Plus, the museum itself is likely to be able to display a growing number of sophisticated 3D printed models and replicas, with Jefferson being just the first example.

See the original story here: http://news.cnet.com/2300-13772_3-10011411.html

Sony’s 3D visor undeniably cool, but the price is not quite right (Review)

[Financial Post]

Unless it’s a local multiplayer title, games are often played alone. A single pair of glasses is all you need. And more importantly, you don’t need to share the screen with anyone else. The Nintendo Co. Ltd. 3DS approach uses a glasses-free screen. Sony Corp., however, has eliminated the screen entirely.

The HMZ-T1 Personal 3D viewer is many things. It’s a head-mounted visor that makes the user look like the futuristic lovechild of a “Battelstar” Centurion and Geordie LaForge. It’s one of the best 3D experiences I’ve had the pleasure of using—which, as someone who generally despises the effect, was a welcome surprise.

But here’s the $800 question—is it worth the price?

Weight and Feel

The View

Sound

Final Word

Testing a device of this type is difficult. It’s a niche product that won’t ever be used on a mass-market scale, so I’m inclined to forgive some of its more glaring flaws. Yes, the weight and bulk are annoying at times, and it’s not the sort of device you’ll want to use on a day-to-day basis … but it’s a high-definition 3D television that’s strapped to your face. It’s bleeding-edge future-tech, and at $800, priced to match.

The concept, however, remains undeniably cool, and it’s one of the few implementations of 3D technology I honestly believes make sense. If Sony can iron out the kinks for a mass-market audience—and cut the price in half too—I’d be more than willing to give it a shot. And I doubt I’m the only one either.

See the full story here: http://business.financialpost.com/2012/02/23/sonys-3d-visor-undenaibly-cool-but-the-price-is-not-quite-right/

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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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