News Stories

E3 needs a new product

[CNET]

Now, here’s the landscape as it currently stands: The Nintendo 3DS and PlayStation Vita have been fighting an uphill battle to reclaim a stake in the market from smartphones and tablets. The upcoming Wii U faces scrutiny and skepticism, both for its dual-screen gaming and for the cooling-off of the Wii brand in general. And, finally, the Xbox 360 and PlayStation 3 will be seven and six years old, respectively, come November.

Meanwhile, Apple continues accumulating profit while building a massive, vibrant catalog of popular, cheap games. And Apple, unlike Microsoft, Sony, or Nintendo, releases new hardware every single year. Processor speed, graphics, and screen resolutions keep getting better. The software improves. And, most importantly, the games keep getting more impressive.

We might be heading toward a post-hardware landscape for console games, where downloads are accumulated in cloud accounts like Steam, Android, or Apple’s App Store (or, the way PSN and Xbox Live already allow). Still, without new hardware or a new product, a new concept, interest is guaranteed to wane. No amount of new games can cover for this…because, except for very rare few exceptions, games just aren’t the killer apps they used to be.

Games are cross-platform. Most great games, apart from Sony/Microsoft/Nintendo exclusives, can be played on multiple consoles, and often on a PC. …

I could see other ways that E3 could make a bold move to stand out:

Launch micro consoles. A mini Xbox 360 at $150 could become a plug-in alternative to Apple TV and Roku boxes, …

Make a real gaming phone. Sony never did it with the Xperia Play, but maybe Microsoft could …

Make systems cheap, and sell content subscriptions. Maybe the “new product” is a new business model. Could games other than MMOs be subscribed to? Activision experimented with the idea via Call of Duty Elite. The amount of DLC floating around on consoles could warrant a subscription model if the content’s good enough.

Make something magical. Does that sound vague? Well, that’s because it is. ….

See the full story here: http://reviews.cnet.com/8301-21539_7-57443145-10391702/e3-needs-a-new-product/

3D Release Calendar 2012

[BoxOffice.com]

2012 3D RELEASE CALENDAR

DATE DISTRIBUITOR(S) TITLE
Jun 1, 2012 Radius-TWC Piranha 3DD
Jun 8, 2012 Paramount / DreamWorks Madagascar 3: Europe’s Most Wanted
Jun 8, 2012 Fox Prometheus
Jun 22, 2012 Fox Abraham Lincoln: Vampire Hunter
Jun 22, 2012 Disney Brave
Jun 29, 2012 Phase 4 Films I Heart Shakey
Jul 3, 2012 Sony / Columbia The Amazing Spider-Man
Jul 5, 2012 Paramount Katy Perry: Part of Me 3D
Jul 13, 2012 Fox Ice Age: Continental Drift
Jul 27, 2012 UTV Communications Joker
Jul 27, 2012 Summit Step Up 4
Aug 17, 2012 Focus ParaNorman
Sep 14, 2012 Disney Finding Nemo 3D
Sep 14, 2012 Sony / Screen Gems Resident Evil: Retribution
Sep 21, 2012 N/A Dredd
Sep 28, 2012 Sony / Columbia Hotel Transylvania
Oct 5, 2012 Disney Frankenweenie
Oct 26, 2012 Open Road Silent Hill: Revelation 3D
Nov 2, 2012 Disney Wreck-It Ralph
Nov 21, 2012 Fox Life of Pi
Nov 21, 2012 Paramount / DreamWorks Rise of The Guardians
Dec 14, 2012 Warner Bros. The Hobbit: An Unexpected Journey
Dec 21, 2012 Paramount Cirque du Soleil: Worlds Away
Dec 25, 2012 Warner Bros. The Great Gatsby (2012)

See the original post here: http://www.boxoffice.com/statistics/3d-release-calendar

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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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