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3D Cinematography class: Los Angeles, May 21-25 – Santa Fe

[This website offers other 3D-related resources as well:  http://www.hdworkshops.com/sfhd/]

 

 

Designed to follow-up this year’s NAB Show, this high-end, hands-on workshop removes the mystery from the rapidly developing world of Stereoscopic 3D Cinematography. Santa Fe International’s experienced professionals and industry experts provide a detailed guide to latest generation of 3D rigs and tools available and how best to use those tools to create high-quality 3D images.

The Santa Fe 3D Workshops are presented in association with FujinonIRIDAS,Angenieuxv3DS.two1BeyondElement TechnicaMore2CamDSC Labs3reedom Digital21st Century 3DMarshall ElectronicsBarger LiteConvergent DesignCam-a-lot, and Fletcher Cameras & Lenses.

Working with the newest lineup of cameras, studio exercises will familiarize you with all of the essentials of 3D Cinematography: rig configuration, camera setup, lenses, monitors, convergence, framing & depth-of-field, lighting, motion, 3D recording & digital media, software, plus on-set and post workflow. Classroom sessions include the roles of the DP, Stereographer, Puller and Colorist; along with 3D basics, terminology, equipment choices and budgeting.

This workshop is designed for DPs, Stereographers, Operators, ACs and DITs looking to familiarize themselves with the latest technical and creative information available on these advanced systems, presented face-to-face by leading industry experts – many of whom were involved in 3D product design and development. The workshop also accommodates Directors, Producers, Production Managers and those interested in understanding the latest in Stereoscopic 3D Cinematography systems, creative capabilities, production techniques, on-set and post production workflow, deliverables and presentation.

Applicants must be experienced film and/or video professionals familiar with high-end production techniques.  Attendance is limited to provide for maximum experience during hands-on sessions and one-on-one time with leading industry experts. Applications are accepted on a first-come, first-served basis.

For questions about workshop registration please email here.

Location & Schedule
Los Angeles
Exact location TBA

Schedule of sessions TBA.

Instructors & Speakers
• Geoff Boyle, DoP
• Paul Taylor, DP/Stereographer
• Lucas Wilson, 3ality Digital
• Prof. Jae-mo Koo, DP, Underwater Cinematographer
• Diane Woods, Exec. Producer, 3reedom Digital
• Will Lundy, CTO, Ridgeline Entertainment
• Additional instructors and guest experts will be announced as they are confirmed.

Tuition: $2500
• $2150; Early Registration through May 7
Discounted tuition is available for members of the following professional organizations*  (full list here)
• $1995; Early Registration through May 7
• $2150; Tuition after May 7

• The Society of Camera Operators
• The Digital Cinema Society
• The Cinematography Mailing List
• ICG/Local 600
• PERA
• 3D@Home
• The American Society of Cinematographers
• The Canadian Society of Cinematographers
• all returning Santa Fe HD Workshop attendees.
* Proof of membership may be required.

Click to learn more about joining the SOCCML and DCS.

REGISTER
LA 3D Workshop

Sessions
• Just added – Underwater 3D Cinematography
• Just added – 2D to 3D Conversion
• Just added – 3D Broadcast Workflow
• 3D History and Industry Overview
• Terminology, Theory and Technology
• Pre-production, On-Set and Post Workflow
• Budgeting for 3D
• Roles of the Stereographer, Rig Tech and Convergence Puller
• 3D Rig Options
• Camera Systems and Selection
• Equipment Prep, Proper Rigging and Alignment
• Lenses, Tools and Accessories
• 3D Displays & Glasses Technology – Proper Setup and Viewing Issues
• 3D Recording and Digital Media
• Lighting for 3D
• On-Set Software and Color Grading
• Shortcuts that Work – Shortcuts that Don’t
• Tips, Tricks, Troubleshooting and Pitfalls
• Studio Exercises: Framing, Depth-of-field, Color, Motion, Contrast
• 3D Recording and Digital Media
• On-Set Software, Color Grading and Dailies
• Post Production Options
• Projection and Presentation

Meals
Tuition includes coffee service, snacks and full lunches. Vegetarian meals and other special dietary needs must be indicated at the time of registration. We can accommodate most, but not all, dietary requests. Please contact us directly to verify that your specific requests can be met.

The source web page is here:  http://www.hdworkshops.com/sfhd/index.php?option=com_content&view=article&id=61&Itemid=71

Camera start-up GoPro secures funding

[by , CNET]

The camera market might be dominated by giants such as Canon and Panasonic, but a small start-up founded by a surfer in Half Moon Bay, Calif., has persuaded venture capitalists to invest.

GoPro, maker of the diminutive Hero line of cameras geared to record action video of snowboarding, base jumping, mountain biking, scuba diving, and car racing, announced the funding today. The “substantial strategic investment” of undisclosed magnitude is from Riverwood Capital, Steamboat Ventures, Sageview Capital, Walden International, and U.S. Venture Partners.

The company has found a niche for its products–including a range of accessories such as suction cups, chest harnesses, helmet straps, handlebar clamps, and adhesive brackets to mount the cameras. Most recently, it released a camera housing that fits two cameras side by side for shooting 3D video and acquired CineForm, a video encoding company whose software GoPro supplies to process the 3D videos.

GoPro also announced a major distribution deal: Best Buy will carry its products.

The cameras are basic–fisheye lenses that don’t need to be focused, automatic exposure, one button to start and stop video and another to cycle through settings. A bubble-shaped plastic lens is designed to be replaced if you scratch it during your parachute landing. Though they’re basic, they’ll shoot HD video for people who don’t have a spare hand to hold a camera.

Among the prices: The HD Hero 960 camera costs $180 with a waterproof housing that works down to 180 feet deep and shoots 720p and 960p video. The HD Hero shoots 1080p, and with a helmet mount included, costs $300. The 3D housing costs another $100 but also is waterproof.

See the original story here:  http://news.cnet.com/8301-30685_3-20060071-264.html?tag=mncol;1n

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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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