[Phil Lelyveld comment: see this post to appreciate what this is.]
[Press Release]
MIKU ｰ Festival 2011 and Anime Expo 2011(U.S.A.) will bring the digital diva HATSUNE MIKU’s First Ever 3D Live Concert Outside of Japan to the Nokia Theatre on July 2 for Anime Expo 2011 (July 1-4, at the Los Angeles Convention Center), with the official support and cooperation of Toyota Motor Sales, U.S.A. (http://www.toyota.com/corollamiku/) and ANIME EXPO 2011 (http://www.anime-expo.org/).
This concert theme will be based on the ultra popular 39’s (Thank’s’) Giving Day held in Tokyo on March 9, 2010. SEGACorporation will produce the high tech projected image and CRYPTON FUTURE MEDIA, Inc. will coordinate and supervise the production.
Further information about this first ever live in the US concert, related events and cool products will be posted on http://mikufes.com in English and Japanese.
For Press inquiries, please contact to press@anime-expo.org
Brought to you by: MIKU ｰ Fes 2011 CRYPTON FUTURE MEDIA Inc. SEGA Corporation.
Back in October 2010, Ortus Technology announced that it had developed a 4.8-inch color liquid crystal display with the world’s smallest size screen and a pixel density of 458 pixels per inch (ppi) in 2D. This pixel density is beyond the detection limit of the human eye.
Now, the company has released the Hyper Amorphous Silicon TFT (HAST) screen, which reduces the space in between pixels and allows light to be transmitted more efficiently to create a high aperture ratio. Just like its predecessor, the 4.8-inch LCD boasts 458ppi in 2D mode, but it can also pull off an impressive 229ppi in 3D mode. DigInfo TV has a video of the 3D screen in action:
Back in October 2010, Ortus Technology announced that it had developed a 4.8-inch color liquid crystal display with the world’s smallest size screen and a pixel density of 458 pixels per inch (ppi) in 2D. This pixel density is beyond the detection limit of the human eye. Now, the company has released the Hyper Amorphous Silicon TFT (HAST) screen, which reduces the space in between pixels and allows light to be transmitted more efficiently to create a high aperture ratio. Just like its predecessor, the 4.8-inch LCD boasts 458ppi in 2D mode, but it can also pull off an impressive 229ppi in 3D mode. DigInfo TV has a video of the 3D screen in action:
The screen’s amazing specifications make it the world’s smallest 3D display with full HD resolution (1920 x 1080 pixels), according to the company. Unfortunately, 3D glasses are required to view 3D images. It can display 16.77 million colors, has a viewing angle of 160 degrees, and comes with an LED backlight.
At the Embedded Systems Expo (ESEC), the company explained that the 3D effect is achieved by using a circular polarizing film called Xpol, developed by Arisawa Manufacturing. This film is affixed to the panel with extremely precise alignment and because this system shows images for the left and right eye alternately on each line, the vertical resolution must be halved.
“We expect this technology will be utilized in the monitors of commercial 3D cameras,” an Ortus Technology spokesperson said in a statement. “It could be used to check 3D images immediately after taking them. We haven’t set a date for the market launch, but we could start production in the near future, depending on demand from customers.”
Personally, this is the type of screen I want to see in a phone one day. The 3D part doesn’t impress me much, but the resolution certainly does (even if my eyes can’t tell the difference!).
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.
