News Stories

How 3D content works: Blu-ray vs. broadcast

[Philip Lelyveld comment: Read this lengthy and thorough consumer-targeted article here.]

[by , CNET]

Excerpt:

Conclusion

3D on Blu-ray is the only way to get full-resolution images for each eye. Cable and satellite 3D content is handicapped by their limited bandwidth, and will therefore have softer images, likely with artifacts like jaggies (depending on many factors, not least the TV).

It is true that we are still in the early days of the 3D TV evolution, but the cable/satellite hurdles are exceedingly expensive to remedy, and are unlikely to happen with such a small installed base of 3D TVs.

Read the full article here: http://news.cnet.com/how-3d-content-works-blu-ray-vs-broadcast/8301-17938_105-20063310-1.html?tag=mncol;7n

Pacific Theatres Winnetka 21 Installs New Meyer Sound EXP Cinema System

[Philip Lelyveld comment: LA area location to hear this audio tech]

[Press Release]

The breathtaking impact of Meyer Sound’s EXP® cinema loudspeaker systems was driven home by the first screening of “Thor” on screen 9 at Pacific Winnetka 21 multiplex in Chatsworth, a suburb of Los Angeles, Calif. Working in tandem with a new Dolby 3D projection system, the heightened sonic experience of EXP cinema sound technology is a key component of Pacific Theatres’ “Immersive 3D Experience.”

In order to give moviegoers an enhanced 3D experience with the sonic impact that they cannot get in conventional cinemas or at home, Pacific Theatres management chose to install a permanent Meyer Sound EXP cinema sound system.

“The accurate delivery of the creative content is of the utmost importance to the movie going experience and the EXP System exceeded our expectations. Meyer Sound was very professional in their approach to the design of the sound system while effectively collaborating with all of our partners in the project. It was a pleasure topartner with Meyer for this renovation,” says Joe Miraglia, Director of Design, Construction and Facilities for Pacific Theatres.

The Meyer Sound EXP installation—the first of its kind to be installed in a California commercial cinema—was part of a thorough technology and amenities upgrade for screen #9 of the multiplex. The all self-powered EXP system comprises Acheron® 100 and Acheron LF screen channel loudspeakers, flush-mounted HMS-10 surround loudspeakers, and X-800C cinema subwoofers. The system is precisely optimized by a Galileo® loudspeaker management system with Galileo 616 and Galileo 408 processors.

The EXP audio upgrade complements the new 79-foot wall-to-wall curved screen, which helps simulate the feeling of being surrounded. New dual digital NEC projectors equipped with the Dolby 3D system were installed to create a crisp, bright image. The auditorium was completely refurbished including new wider, more comfortable seating.

The extensive technology upgrade package was installed by Universal Cinema Services of Euless, Texas in conjunction with ACS Enterprises of Walnut, Calif. under the supervision of the Dolby technical team. Audio system design was provided by Meyer Sound Design Services using the MAPP Online Cinema™ acoustical prediction program.

Pacific Theatres operates eight cinema locations with more than 100 screens in Southern California, while a sister company, ArcLight Cinemas, operates an additional 61 screens at four locations in the same area. Both exhibitors are owned by the Decurion Corporation of Los Angeles.

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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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