News Stories

CAMERON'S 10 RULES FOR GOOD STEREO

2.10.2012

[StereoscopyNews]

1 There is no screen

2 Stereo is very subjective

3 Analyzing stereospace on freeze frames can be misleading

4 Convergence CANNOT fix stereo-space problems

5 Convergence is almost always set on the eyes of the actor talking

6 Interocular distance varies in direct proportion to subject distance from the lensshots

7 Interocular and convergence should both vary dynamically throughout moving shots

8 In a composite, the foreground and background may want to have different interoculars

9 When stereo looks bad to the eye (visual cortex) it is important to eliminate the problems sequentially:

Sync, reverse stereo, Vertical mismatch, color/density mismatch, render errors, highlights, image warping, vibrations

10 Some shots just can’t be fixed

Source

Read all ten rules in greater details in the 3Dcinecast paper from Olivier Amato on July 27, 2009.

Read also

The “Ten Commandments of Stereoscopy” by Benoit Michel. They are available in 8 different languages.

See the full story, as well as links to the source material, here: http://stereoscopynews.com/hotnews/history/digital/2166-camerons-10-rules-for-good-stereo.html

The rise of digital in motion pictures – Beyond the tipping point for film (part 2 of 2)

2.10.2012

[Quantel]

In the second part of our look at the uptake of digital technology in the movie business we explore filmmaking innovators who are taking digital filming and post production to new levels of excellence.

Filmmakers and post-production specialists are breaking new ground in visual storytelling facilitated by the increase in technological capabilities during acquisition, post and exhibition. The advances in Stereo3D are inextricably linked to developments in digital capture: James Cameron pioneered shooting on digital cameras that were custom built for Ghosts of the Abyss – the first feature length 3D IMAX production released in 2003. Then Avatar set the bar for 3D features; however Vince Pace, co-chairman of CAMERON | PACE Group recently told The Hollywood Reporter that they  “were experimenting with Avatar” and that they “could have gone further, but we wanted to make sure we found ourselves somewhere in the middle of concentrating on a good film and focusing on 3D elements. We didn’t want to compromise the actual film by taking away from the story for the sake of 3D.” …

Digital drives quality

The Case for Film

Read the full story here: http://blog.quantel.eu/2012/02/the-rise-of-digital-in-motion-pictures-beyond-the-tipping-point-for-film-part-2-of-2/

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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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