News Stories

Looking Good, Even in 3D

[Philip Lelyveld comment: We have numerous samples of curved-lens Marchon glasses discussed in this article in the 3D Lab.]

[New York Times}

The pleasure of quality 3D glasses, explained David Johnson, the president of Marchon 3D, when I spoke to him on the phone after seeing “Hugo,” is that their lenses are curved—as opposed to the models they distribute at movie houses, which are apparently flatter, one-size-fits-all models. “Having the flat piece come so far from your eye means having the backscatter,” he explained. I’d never head the term before; I’m not even sure it’s one or two words. “Any light coming from overhead or behind you bounces off the inside of the lens and can cause light flashes and ghosting.” He also said that the wearer was less likely to experience dry eyes and irritation with curved lenses. And priced in the $30-$40 range, they don’t cost much more than your ticket and a Coke these days.

I frankly hadn’t noticed the backscatter with generics. I’ve got bigger problems when I go to movies: people bouncing against the back of my seat, taking 45 minutes to unwrap a cough drop, sneaking frequent peeks at their iPhones in case the White House is calling.

There is one condition that might prompt me to invest in a pair of quality 3D eyewear—if they cut the ticket price. When I purchased mine for “Hugo,” with the $3 3D surcharge, I inquired whether they might consider waiving the fee since I brought my own. Actually, I was too embarrassed to admit I had; I posed the question as a hypothetical. However, the ticket seller shook his head glumly and said no.

Mr. Johnson informed me that when you go to the movies in Europe, you buy your 3D glasses separately, creating a greater incentive for ownership. Perhaps because we don’t have that incentive here, “The U.S. adoption rate is slightly slower,” he conceded.

I was still frankly mystified by the underlying notion that 3D glasses could make a fashion statement.

See the full story here: http://online.wsj.com/article/SB10001424052970203960804577239300581314074.html

Seven exec baulks at 3D broadcasts (Australia)

[ZDNet]

As 3D-enabled televisions continue to fly off the shelves and into Australian homes, some broadcasters are still mulling the value of 3D terrestrial broadcasts, including the Seven Network’s group general manager of technical services, Trevor Bird, who finds the technology clumsy.

“Personally, I think 3D has to come quite a way until we get to [mass market consumption]. I’m an advocate of TV as a wallpaper; mum’s out there chopping up the veggies and dad’s out there bathing the cat or whatever, and they look up and watch the telly like wallpaper,” he told the packed room.

“They’re not going to just pick up the glasses and have a look and say ‘gee, look at that’, and then he has to go and get his glasses [just to watch it]. I think we need to get to a point where 3D is a lot less clumsy.”

Seven, Nine and SBS all submitted post-trial reports to the Australian Communications and Media Authority last year on how their 3D trials went and few 3D terrestrial broadcasts have been seen since.

See the full story here: http://www.zdnet.com.au/seven-exec-baulks-at-3d-broadcasts-339332306.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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