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Top 10 Surround Sound Systems for February 2012

[Philip Lelyveld comment: each is described on the webpage.]

[top10sellingitems.com]

1. Onkyo 5.1-Channel Home Theater System 6. Sony HTSS380 3D Home Theater System
2. Sony HT-CT150 3D Sound Bar System 7. VIZIO VHT215 Home Theater Sound Bar
3. Samsung HW-D550 Home Theater System 8. Samsung HT-D5500 Home Theater System
4. Sony 3D Sound Bar Home Theater System 9. Panasonic 5.1 Channel Cinema Surround System
5. Samsung HT-D550 Home Theater System 10. Bose® CineMate® Series II Digital Home Theater

Read the full story here: http://top10sellingitems.com/electronics/top-10-surround-sound-systems-for-february-2012

The Oscar-Nominated Sound Mixers: Tom Fleischman of 'Hugo'

[The Wrap]

The film makes wonderful use of 3D to create the space in which the action takes place, and obviously sound is a large part of creating that immersive environment.

Oh, absolutely. I’ve always said that we’ve been mixing in 3D for years. We’ve always had surround speakers. But this was the first 3D film that I’ve worked on.

Did your process change because of the 3D?

We didn’t actually mix with 3D glasses or anything like that. I screened the film before we started in 3D, so I knew what to expect. And later on in the process, when we had something together, we went back and screened it again in 3D and made some adjustments. It was a lot of fun.

I’d imagine that the Dolby 7.1 surround format helped with creating the 3D environment.

Yes, it did. Particularly in that nightmare train sequence. The close-up of the locomotive, the wheels, the pistons – we were able to pan those things very effectively to the side speakers without having it overwhelm anything from the back. That also helped in being able to work with music. It was the first time I used the 7.1, but I really liked it.  …

Read the full story here: http://www.reuters.com/article/2012/02/08/idUS250163487220120208

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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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