News Stories

Exclusive Behind the Scenes Look at Safari Park Adventure 3D

2.5.2012

[Philip Lelyveld comment: this is a lengthy in-depth interview]

[3D Focus]

….

3D Focus: Most 3D shows have been one offs – it is not often that a 3D series is produced, certainly not in 10 parts. Is that a result of greater confidence in the industry or because 3D technology has allowed 3D production to become quicker and cheaper?

Duncan Humphreys: I think it is a combination of technology and decisions taken by the 3D channels. Certainly the technology has improved to make filming in an observational way possible under certain circumstances. In this instance the challenge was also to have a relatively mobile solution to be able to film the animals and be able to zoom and react to what they do. It seems from a broadcast perspective that most programming is still one off shows, however if one finds the right project then shooting a series has its advantages in terms of cost.

3D Focus: Can you provide a brief overview of what 3D production equipment was used?

Duncan Humphreys: The main set up was two Sony P1 cameras with bespoke Canon 3D zooms on a 3ality Technica rig, playing through a Sony MPE 200 to give us zooming capability. This was recording to Nano Flash. Woburn had an old military truck they were not using. We built a filming cage within that so we could go in with the animals. We used a hydrogen fuel cell generator that was almost silent to power everything. This was critical otherwise…

Read the full story here: http://www.3dfocus.co.uk/3d-news-2/3d-broadcasting/exclusive-behind-the-scenes-look-of-safari-park-adventure-3d/7209

Digital and 3D cinema market trends in Europe Q4 2011

2.5.2012

[Screen Digest]

Over 2,400 digital screens were installed across Europe in the period September to end December 2011 bringing the active digital screen base to over 18,500 as at Q4 2011. It was also the third consecutive quarter more 2D screens were installed than 3D, following 3D’s usurping as the main driver of roll-out, a trend first set in motion in Q2 2011. Q4 also marked the turning point for European screens which became majority digital. There are now 16 territories with the majority of screens digitised, up from 11 in Q3.

Tables and charts included:

  • Cumulative d-screen deployment in Europe (Q4 2009 – Q4 2011)
  • D-screen deployment in top five European territories by quarter (Q4 2009 – Q4 2011)
  • Net digital installations ranked by territory Q4 2011
  • Digital screens split by 2D and 3D capability in W Europe (Q4 2009 – Q4 2011)
  • Ranking of territories in Europe by digital screen penetration Q4 2011
  • Market share of projector manufacturers in France
  • Digital Exhibitor Profiles: France
  • Market share of projector manufacturers in UK
  • Digital Exhibitor Profiles: UK
  • Market share of projector manufactuters in Germany
  • Digital Exhibitor Profiles: Germany
  • Market share of projector manufacturers in Spain
  • Digital Exhibitor Profiles: Spain
  • Market share of projector manufacturers in Italy
  • Digital Exhibitor Profiles: Italy
  • Leading circuits by digital screens Q4 2011
  • Leading circuits by 3D screens Q4 2011

Pages: 14

Tables & charts: 17

Read the full story here: http://www.screendigest.com/reports/201212b/2012_02_digital_and_3d_cinema_market_trends_in_europe_q4_2011/view.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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