News Stories

3D broadcasting drought continues

[by staff writer, TechEye]

Although every television maker in the world wants to introduce 3D as standard on the boxes, broadcast content is still looking a little thin since the first models arrived at John Lewis and sat on the shelf for a month.

Despite BSkyB launching 3D channels along with hefty marketing campaigns – which saw 3D football matches broadcast in pubs and gushing reports about the technology featuring in associated newspapers – there’s still little in the way of actual 3D broadcast content.

That’s because there’s not much you can do with 3D telly on a day-to-day basis. We reported this last year, with Meko analysts telling us 3D will never be an everyday thing. It’ll be a couple of hours a week, at most, on the television. We imagine most punters don’t quite fancy watching Pat Butcher’s earrings swing out of the screen into their faces.

More obviously, creating regular 3D content for broadcast is very high-cost. Particularly with live content, say analysts at Ovum. There is a “lack of enthusiasm” for investing in 3D content production, according to Ovum’s The State Of 3D (Strategic Focus) report, and as such the whole situation is unlikely to undergo any swift change.

It will be up to packaged goods such as Blu-Ray, streaming, and above all console gaming to keep 3D afloat. Sony is pushing its 3D technology with the PS3, but then it would, having as it does something of a monopoly with 3D. Sony runs Blu-Ray, it knocks out 3D tellies, sells 3D studio equipment and it has heavy investment in the studios which create the content.

According to Ovum, which collared a shedload of execs to talk about strategic priorities, production of 3D content or the launch of 3D channels is at the very lowest rung of the ladder for investment. Over half said 3D content production was “not an important business consideration,” while broadcasters in Europe or North America didn’t give a hoot either.

Which isn’t great news for the future of 3D broadcasting. Many of the most popular shows here in the UK are imports from the States, and if the broadcasters aren’t able or willing to take advantage of the technology which was hoist upon us, it’s unlikely there will be any significant boost in the near future.

BSkyB, which really wants to flog its 3D services, recently pinned its hopes on a channel launch called Sky Atlantic, promising to air the best from the US. We shouldn’t expect a Sky Atlantic 3D launch any time soon.

As for sports, 3D can work sometimes, but reception has been generally less than enthusiastic.

Even 3D boffins agree that the format is not suited to sports that move at a fast pace. What does that rule out? Well, football, rugby, tennis, basketball for a start.

See the original post here: http://www.techeye.net/business/3d-broadcasting-drought-continues#ixzz1N1fGSV4y

[SID] Toshiba’s tablet-ready, glasses-free 3D display debuts at SID 2011 (video)

[By Sean Buckley, Engadget]

The T-Mobile G-Slate may have a jump on the (red and cyan) 3D tablet market, but we can do better, and while strolling past Toshiba’s SID 2011 setup, we may have found the slate of the future’s killer component: an 8-inch, glasses-free 3D display. Tablet sized? Yes, indeed. We couldn’t get a Toshiba representative to admit the depth perceptive display was destined for any upcoming devices, but we weretold that the screen certainly “made sense” for a tablet device. The technology seems to be designed with a smaller form factor in mind, as the firm warned that larger versions of the screen, while possible, would suffer a drop in image quality. At 8-inches however, it looks mighty fine — although you’ll still need to look on from a centered sweet-spot to catch the 3D effect, a plague it shares with its glasses-free brethren. Check out our hands-on video (sans 3D, of course).

See the original post here:  http://www.engadget.com/2011/05/18/toshibas-tablet-ready-glasses-free-3d-display-debuts-at-sid-20/

< PREVIOUS ARTICLES NEXT ARTICLES >

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.

Oops, something went wrong.