News Stories

Fox Star Studios and Vishesh Films join for two films

6.10.2011

[by IndiaGlitz]

Fox Star Studios India has signed a two film co-production deal with Mahesh Bhatt’s Vishesh Films. The films that will fall under this deal are ‘Raaz 3’ (3D) and ‘Informer’. This will be the first time that a Hollywood studio in India will be co-producing an Indian 3D horror film.

‘Raaz 3’ in 3D will be directed by Vikram Bhatt, who recently gave the 3D hit film ‘Haunted’. Vikram Bhatt said, “I am very happy to be back with Vishesh Films. I’m excited to partner and be associated with Raaz 3 in 3D.”

‘Raaz 3’ will star Emraan Hasmi and Jacqueline Fernandez. Whereas, ‘Informer’ will be directed by Kunal Deshmukh and will star Emraan Hashmi, Prachi Desai and Randeep Hooda.

“There is a definite value that Mukesh and Mahesh Bhatt films have. Vikram Bhatt’s success record in horror genre is well known too. For us co producing with Vishesh films is a very important decision,” said Fox Star Studios India CEO Vijay Singh.

See the original post here: http://www.indiaglitz.com/channels/hindi/article/67575.html

3D HD Documentary Explores Chevrolet Volt’s Design and Technology

6.10.2011

[by PR Web]

3DigitalVision has begun filming the premiere episode for a ground-breaking stereoscopic 3D HD documentary series in General Motors’ Hamtramck assembly plant. The one-hour stereoscopic film will detail the design, testing, and assembly process of the world’s first Extended Range Electric Vehicle-the Chevrolet Volt.

Captured in full 1080p 3D, the film explores the unique challenges to engineering and building the Volt’s revolutionary propulsion system and aerodynamic body. From early designs to prototypes to extreme climate testing, the documentary brings the Volt’s full story to life with new details. 3DigitalVision’s crew was granted rare access to GM’s Global Design Studios, Global Battery Systems Laboratory, as well as the legendary Milford proving grounds where vehicles are tested under punishing conditions. “We’re thrilled with the generous access GM has given us to the assembly plant and sensitive R&D facilities,” said series Producer/Director Michael Watchulonis. “The Volt is an impressive leap in technology, and there’s much more to its story than most people have seen.”

In addition to the Chevrolet Volt, the Super Machines 3D series will also profile cutting- edge aircraft, weapons systems, construction equipment, and robotics. “We’re taking viewers onto the factory floor, behind the closed doors of secretive design studios, and onto restricted testing grounds to see how these incredible machines are conceived and built,” added Watchulonis. “Seeing this amazing technology come together in vibrant 3D is impressive. But we’re also digging into the challenges and brilliant solutions needed to take a super machine from concept to finely-tuned product.”

Additional information about the Super Machines 3D: Chevrolet Volt episode and international distribution of the series is available upon request.

About 3DigitalVision     
3DigitalVision is a full service 3D HD production company specializing in documentaries and factual programming. Its team has contributed 3D HD content to Virgin Media, 3net, RealD, Texas Instruments, NVIDA, and others. 3DigitalVision’s most recent documentary film, Alligator Kingdom 3D, has gained worldwide distribution.

See the original post here: http://www.sfgate.com/cgi-bin/article.cgi?f=/g/a/2011/06/10/prweb8553471.DTL

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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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