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3-D TV Boom Times Ahead

[BY KATHERINE BOURZAC, Technology Review]

Analysts expect a big increase in sales, even though consumers aren’t yet wowed.

Sales of 3-D TVs could increase fivefold this year, as more televisions come with the technology built in, and the range of available content steadily increases.

A report published this week by market research company In-Stat suggests that sales of 3-D TVs could increase by 500 percent in 2011. Last year, only 1 or 2 percent of the 210 million TVs sold worldwide were 3-D-capable.

“It’s not consumers demanding it,” says Michelle Abraham, author of the In-Stat report. “It’s manufacturers making it a [standard] feature of their larger screen sets.”

Paul Gagnon, director of North American TV research at DisplaySearch (a research company owned by the same parent company as In-Stat), says many consumers remain confused about 3-D TV technology. On Monday at the Society for Information Display’s Business Conference in Los Angeles, Gagnon said manufacturers also detracted from 3-D TV by introducing several other television technologies last year.

“In 2010, 3-D TV had to share the stage with LED backlights as well as with Internet-connected TVs,” said Gagnon. “You can’t focus on all messages all the time and expect consumers to understand them.”

To remain profitable, manufacturers are focused on adding premium features. Until about 2007, a major new technology was introduced about every two years. Now, says Gagnon, the cycle is as short as six months. “Especially in the U.S., we see shorter and shorter development cycles,” he said.

According to a survey conducted recently by Sony Entertainment, only 54 percent of people know that 3-D TVs can also show regular 2-D content. Most consumers also say that these sets are still too expensive (averaging around $1,600 compared to about $500 for a 2-D TV, although the price has come down significantly in the past year).

The availability of new content could help encourage adoption of the technology. Representatives from LG, Sony, and ESPN detailed plans to create more 3-D content at the display conference.

In February, ESPN began offering 3-D content 24 hours a day on its 3-D channel. Xfinity and DirecTV also launched 3-D channels this year. “Cable distribution is key,” says Bryan Burns, a vice president at ESPN. In 2010, there were only about 40 3-D Blu-ray movie titles available, according to DisplaySearch, and it will take time to build that up.

Burns says ESPN has learned many lessons in the year since it launched its 3-D channel. “We’re working hard on our production costs,” he says. At first, the network used two production teams to film 2-D and 3-D content, which doubled the production costs. Now they use what they call a “5-D” production system that more closely integrates the equipment and crew needed for filming both.

Several companies, including LG, also now offer 3-D TV sets that work with more comfortable, battery-free glasses. Unlike previous types of glasses, these also work when a user tilts his or her head.

“Auto-stereoscopic [glasses-free] 3-D won’t be here for a long time,” says Mike Abary, a senior VP at Sony.

See the original story here:  http://www.technologyreview.com/computing/37599/?nlid=4495&a=f

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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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