News Stories

SeeFront 3D Receives ‘Landmark in the Land of Ideas’ 2012 Award for its Glasses-Free 3D Technology

[3D Roundabout]

The patented SeeFront 3D technology allows the user to view 3D content without special 3D glasses. An integrated eye-tracking system detects the user’s position and transmits it to the 3D engine. This engine combines the images for the left and right eye in a special way and in real time. An optical filter in front of the display generates a brilliant, compelling 3D impression. As the 3D image is continuously adjusted according to the user’s position, the user enjoys freedom of movement in all directions. The SeeFront 3D technology is perfect for entertainment or professional use by a single viewer with a mobile device, a laptop computer or a desktop monitor.

Under the patronage of the German President, since 2006 the nation-branding initiative “Germany – Land of Ideas” has cooperated with Deutsche Bank to reward ideas and projects that make a lasting contribution to Germany’s future viability. …

See the full story here: http://3droundabout.com/2012/02/6350/seefront-3d-receives-landmark-in-the-land-of-ideas-2012-award-for-its-glasses-free-3d-technology.html

Be Lou Reed for 64 Minutes: How 3D Sound Met “Metal Machine Music”

[Philip Lelyveld comment: This article goes into technical detail on how the 3D audio experience and museum installation was created.]

[SonicScoop]

…now through April 15, California State University at Long Beach’s University Art Museum is presenting an audio installation of Reed’s Metal Machine Trio. The show provides audience members with an accurate sonic replica of Reed’s experience onstage during an April 2009 performance of the composition,…

Making the 3D recording and subsequently reproducing it in a public installation was a serious test for Arup’s acoustic consultants, applying the company’s extremely deep resources – including a 3D SoundLab in the heart of their TriBeCa offices – to make a unique method for Metal Machine immersion.  …

“Essentially the technique involves having three overlapping figure-of-eight microphones, individually capturing sound in the X [front-to-back], Y [side-to-side] and Z [floor-to-ceiling] axis at the listening location, and a W channel capturing the omnidirectional responses,” says Patel. “The captured signal type is called B-Format.  With the appropriate decoding you can re-create for a listener, either within an appropriate loudspeaker array, or on headphones, the true 3d sound as would be experienced by the listener.”  …

Read the full story here: http://www.sonicscoop.com/2012/02/20/be-lou-reed-for-64-minutes-how-3d-sound-met-metal-machine-music/

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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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