News Stories

How close are we to truly photorealistic, real-time games?

2.11.2012

[ars technica]

Every graphical and technical advance the game industry has seen from Pong to Crysis has been a small step toward the end goal of a real-time, photorealistic 3D world that is truly indistinguishable from a real-world scene. Speaking at the DICE Summit Thursday, Epic Games founder and programmer Tim Sweeney examined the speed and direction of computing improvements and determined that we “might expect, over the course of our lifetime, we’d get to amounts of computing power that come very close to simulating reality.”

The necessary bounds for true photorealism are set by the physical limits of the human eye, Sweeney explained, which can only process the equivalent of a 30 megapixel image at about 70 frames per second. Given current trends, monitor display technology should be able to handle that level of detail for a small area in just a few more generations. Projecting that level of detail across a larger, 90 degree field of vision would take an 8000 x 6000 pixel display, which is still quite far off but “within sight,” Sweeney said.  …

But simply pushing polygons isn’t enough to get true realism. The ability to trace the subtle interplay of light on various surfaces is also key to creating a realistic scene. …

Outside of raw computing and algorithmic power, the future may also hold further revelations in the way we interact with virtual environments. Sweeney pointed to upcoming Sony sunglasses with transparent lenses that allow for hands-free image projection in a way that hasn’t seemed cool since the ’80s. He also predicted that increasing scarcity in real goods may drive up the value of increasingly realistic virtual goods, to the point where the market rivals the $25 trillion worldwide trade in real estate.  …

See the full story here: http://arstechnica.com/gaming/news/2012/02/how-close-are-we-to-truly-photorealistic-real-time-games.ars

To 3D Or Not To 3D: Is The Phantom Menace In 3D Worth It?

2.11.2012

[CinemaBlend]

SCORES RECAP
3D Fit 5
P&E 5
Before The Window 1
Beyond The Window 4
Brightness 5
The Glasses Off Test 3
Audience Health 5
Total Score 28 (out of a possible 35)

Final Verdict: If you’re looking for further reason to hate The Phantom Menace, I’m sorry to say you won’t find it here. The 3D conversion isn’t going to change your opinion on the movie or give you a whole new moviegoing experience, but it’s not bad either– it seems to mainly be serving the purpose of giving George Lucas something else to tinker with and giving more people an excuse to see it in theaters, and who can argue with that? If you’ve watched The Phantom Menace100 times at home already, don’t go to this expecting something brand new. But if you’ve seen enough terrible 3D conversions, you might want to check this out as an example of it done pretty well.

See the full story here: http://www.cinemablend.com/new/3D-Or-3D-Phantom-Menace-3D-Worth-It-29366.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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