News Stories

Thoughts on UFC 143 in 3D – was it worth it?

2.7.2012

[PlatformNation]

Crappy camera angles suck. I think I counted around 3 true 3D cameras there, because of that, the UFC decided to try to use those as much as possible for our feed. These angles were not the ideal angles or views for us, those were saved for the main feed so we were constantly getting non-optimal views. What was worse though was when they would switch to the single lens cameras and give us what seemed to be a post-process 3D image, it was just awful. Not to mention every time that they showed anything in the UFC video library where nothing was actually shot in 3D and they tried to make it seem 3D. It just looked like crap.

Can we not forget that 2 friends seeing this in the theater at $25 a ticket is the cost of the PPV in the comfort of your own home with your own food and drinks that’s so much cheaper than what you are going to pay at a theater? And so much better quality too.

Overall, when the 3D was actually done right, it was awesome, it really was. It really made me feel like I was there (I’ve been to several UFC events live so I know what it’s like), but so often, it wasn’t done the right way. Every time the UFC would switch to one of the single camera lenses or show an older video clip, it would just suck you out of the experience and it really left you wanting your money back. This was the first time the UFC has done 3D and this was my first and last time paying for it. Never again for me.

Read the full story here: http://www.platformnation.com/2012/02/05/thoughts-on-ufc-143-in-3d-was-it-worth-it/

The Pirate Bay makes good on 3D pirated content

2.7.2012

[slashgear]

The Pirate Bay is literally taking digital piracy to the next dimension, and the process has already begun. The online downloading company told users last month that in addition to the requisite slate of movies, music, and TV show content it offered through means of copyright infringement, it wanted to add files that could be used for 3D printers. So in essence, users are now able to swap physical products in addition to digital products, without recognizing the original owner of the content.

See the full article here: http://www.slashgear.com/the-pirate-bay-makes-good-on-3d-pirated-content-05212134/

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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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