News Stories

Digital's increasing domain

2.10.2012

[Philip Lelyveld comment: this story is about the ASC’s attitude toward digital, with only a few 3D mentions.]

[Variety]

The American Society of Cinematographers traces its origins back to The Static Club, a gathering of cameramen convened in 1913 in part to discuss and solve technical issues. The club’s moniker sprung from the concept of motion picture film building up static electricity inside the camera that, when released, emitted light that exposed the film.

The ASC itself was chartered in 1919, and since that time, the exclusive, invite-only club has been associated with filmed images, almost always captured on 35 mm silver halide emulsion.

But the Society’s long-standing stance on the primacy of film stock is changing. Today, the ASC is more agnostic regarding filmmaking tools, underscored by this year’s two nominations in the feature film category for movies shot digitally: “The Girl with the Dragon Tattoo,” shot by Jeff Cronenweth on Red cameras; and “Hugo,” shot by Robert Richardson, using a two-camera Arri Alexa 3D rig.  …

See the full story here: http://www.variety.com/article/VR1118049660?refcatid=13

WealthTV Commissions TV Pro Gear for World's First 3D Flypak

2.10.2012

[Philip Lelyveld comment: A Flypak, according to TVProGear.com, is a small, portable, fully functional production studio.]

[PRESS RELEASE]

WealthTV 3D, the recently launched 24/7 3D network from WealthTV, commissioned the development of the world’s first 3D Flypak™ from TV Pro Gear, a leader in turnkey integration headquartered in Glendale, CA. WealthTV 3D will utilize this Flypak™ for a multitude of live events in 2012, including the recently announced WBC Lightweight title fight featuring the undefeated Chris Howard taking on the undefeated Arash Usnamee, live from Atlanta, GA.

“We’re dedicated to bringing the best possible 3D experience into the living room,” explains Robert Herring Sr., founder and CEO of WealthTV.  “Live events such as boxing and concerts bring an added level of excitement to our 3D network.  By utilizing the versatile and incredibly mobile Flypak™ that TV Pro Gear has designed, we have the flexibility to broadcast anything from larger live arena events to more intimate venues with the same great 3D quality.”

WealthTV 3D‘s current programming lineup is designed to give the viewer the greatest overall 3D experience. From touching the peaks of the Andes to riding in the fastest Ferraris, WealthTV 3D heightens your senses to levels only otherwise experienced in person. With the addition of live events, WealthTV 3D takes another leap to becoming a leader in 3D television content.

“TV Pro Gear is employing several new 3D technologies in order to create the world’s first 3D Flypak™ for WealthTV,” states Andrew Maisner, President of TV Pro Gear. “The newly released Fiber Optic system and our patented all-in-one gig mounted Flypak™ frame gives WealthTVshorter set-up times and improved reliability at every live event.“

The Flypak™ is built around a multitude of Sony PMW-TD300 3D cameras, the latest in shoulder-mount designed 3D camcorders.  The PMW-TD300 allows more mobility and flexibility in the way an event can be shot with the same 3D effect and picture quality of beam-splitter and side-by-side rigs used today.

WealthTV 3D is now launched on Roku’ s over 2.5 million connected boxes across the United States, along with all Google TV enabled devices.  Additional launches via conventional cable and connected devices are coming soon.

See the original press release here: http://www.sacbee.com/2012/02/09/4250611/wealthtv-commissions-tv-pro-gear.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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