News Stories

Unlocking the key to 3D sound

[Princeton Alumni Weekly]

THE INVENTION Audio technology that allows the listener to experience true three-dimensional sound. Unlike ­surround-sound systems, this invention — called BACCH 3D Sound — enables you to hear with precision where each sound on a recording is coming from. Listen to a recording of a fly ­circling your head, and you can detect exactly where that fly is located. ­Listen to a symphony, and you can hear the viola coming from the left and the bass coming from a spot on the back right. The technology works with any pair of loudspeakers, but not with headphones.

THE SCIENTIST The moment he perfected his invention — at 3 a.m. — Edgar Choueiri (pronounced “Shu-WAY-ri”) *91, professor of mechanical and aerospace engineering, woke up his wife to listen to a recording of Bach’s “Mass in B Minor.” (BACCH 3D Sound stands for Band-Assembled Crosstalk Cancellation Hierarchy and is a tribute to Bach, Choueiri’s favorite composer.) Choueiri created a way of designing a filter that accurately cancels a sound recording’s crosstalk without changing the tonal quality of the sound. …

 

WHERE YOU’LL BE SEEING IT Choueiri’s BACCH 3D Sound is available in a portable wireless speaker called Jambox and will be available in 3D televisions. Sony has given Choueiri $3 million to fund his lab for the next three years and do research on headphones. Choueiri also is exploring how to adapt the technology for use in hearing aids.

Read the full story here: http://paw.princeton.edu/issues/2012/02/08/pages/7041/index.xml

World War 7 Brings 3D Glasses to the Rock Concert

[Studio Daily]

On Friday, February 3, indie rock band Saint Motel will perform at the Soho House in West Hollywood, accompanied by what World War 7 (WW7) Creative Director Josh Ferrazzano describes as “a multimedia, stereoscopic, psychedelic spectacular.” The visual component of the show, Stereotropic, incorporates 3D psychedelic visuals and underwater choreography by synchronized swim troupe The Aqualillies. Ferrazzano hopes this initial marriage of mind-bending VFX and other kaleidoscopic footage in stereo 3D plus live music will serve as a kind of launching pad for a continuing, touring audiovisual experience. We talked to Ferrazzano last week as finishing touches were being put on the project.  …

Read the interview here: http://www.studiodaily.com/main/news/headlines/World-War-7-Brings-3D-Glasses-to-the-Rock-Concert_13657.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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