News Stories

San Francisco International Arts Festival to feature 3D movie without 3D glasses

[by Shockya]

This month, the San Francisco International Arts Festival is going to feature a stereoscopic film that doesn’t feature 3D glasses. The film, created by Walter Funk of Hologlyphics and titled “Spaceforms: Homage to Homer”, will allow viewers to walk around the viewing area; when the viewers’ position changes, so will the perspective of the scene being viewed. The experience will combine animation, live footage, action, and sound to create the ultimate experience. To quote the press release:

Audience members will be able to walk around the viewing area, watching Spaceforms from multiple angles. As their viewing position changes, so will the perspective of the scene they are watching. Nebulas, Saturn, and planetary motion sequences take on new life, floating in front of the audience. No longer flat, without the glasses.

Also, here’s a bit more insight into the background of the film:

The screening is produced by Zero Gravity Arts Consortium (ZGAC) in collaboration with affiliate partners including the Space Arts Development Fund of the National Space Society and The Studio for Creative Inquiry, Carnegie Mellon University. ZGAC is an international organization dedicated to fostering access for artists to space flight technology and zero gravity space through international partnerships with space agencies, space industry entrepreneurs, and leading universities.

“Spaceforms: Homage to Homer” is a stereoscopic sonic journey exploring animation, live footage, sound and motion in the space around the audience. Several 3D displays, each with differing visual properties, will be showing the movie.
…The movie is a Homage to Homer B. Tilton, scientist, mathematician, and 3D display pioneer. Tilton’s electronic 3D display work dates back to the late 1940s, a system that worked with 2D perspectives only. In the early 50s he developed a stereoscopic version, requiring user worn eye-wear. The real breakthrough came about in the late 60s, when Homer developed a method for viewing electronically generated stereoscopic moving images without glasses.

Tilton’s 3D display could provide the viewer with a 3D image that was interactive in real-time. As the viewer moves side to side, infinite perspectives of the image are seen. This is in large contrast to the more recent 3D displays that have been commercialized in the past several years. The commercial displays usually have an average of 8 views, definitely nowhere near infinite. With infinite views, the visual quality is much closer to a white light hologram.

The film premiere will begin at 2:00 p.m. on May 29 at the Forth Mason’s South Side Theater.

See the original post here:  http://www.shockya.com/news/2011/05/10/san-francisco-international-arts-festival-to-feature-3d-movie-without-3d-glasses/

TV Academy event – 3D Television: The Eyes Have It

3D Television: The Eyes Have It


WATCH IT LIVE ON EMMYS.TV and EMMYS.COM

 

June 1, 2011 – 6:30pm – 8:30pm
CBS Studio Center

4024 Radford Ave.

Studio City, CA

United States

See map: Google Maps

An eye-opening look at the opportunities of …Now and When… in 3D Television. A 90 minute Primer in how you plan, produce, package, and profit from the growing business of 3D Television. 

RUNDOWN

GENERAL INTRODUCTION TO 3D – George Taweel
THINKING & CONCIEVING IN 3D – Ted Kenney (3D Producer/Director)
THE CASE FOR EPISODIC 3D TELEVISION – Steve Schklair (CEO & Founder 3ality Digital)
INDEPENDENT 3D PRODUCTION – Pierre de Lespinois (Evergreen Films)
3D POST-PRODUCTION – John Nicolard (Head of Digital Production FotoKem Digital Film Services)
THE BIZ OF 3D TV – Tim Pastore VP Production & Development 3NET
WHAT’S NEXT IN SMALL SCREEN 3D – LG Demo of 3D Tablet & 3D Smartphone
Q & A and Wrap-up – George Taweel

MODERATED BY
GEORGE TAWEEL

PRODUCED BY
CONRAD BACHMANN / ALEX GEORGIEV
GEORGE TAWEEL / BRIAN ZINK

Complimentary attendance for Television Academy members ONLY (non-transferable). Membership card and ID are necessary for admittance. Seating is on a first-come, first-served basis with reservation. Admission is not guaranteed. Please park in structure (Gate A) north of the main gate on Radford.

To RSVP online for this event, Click Here
(Member Login Required)

If you forgot your login name or password—or simply don’t have one, click here.
For instructions on how to create or reset your member login, click here.

See the original post here:  http://www.emmys.tv/events/2011/06/3DTV

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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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