News Stories

Dimension 3 is back from 24 to 26 May 2011 in Paris

5.4.2011

 

 

 

[by Stereoscopy News. com]

Dimension 3 program will be rich and various – with a lot of new topics. Addressed to all professionals interested in S3D, multi-views images and augmented reality, Dimension 3 offers an exhibition with more than 70 participants, conferences, a film festival with awards, 3D screenings, and several bars…

We pinpointed some interesting conferences in a flood of various screenings, workshops, events, and more (all dedicated to various aspects of 3D):

Filming live shows in S3D with Josef Klueger (KUK Films), Kommer Kleijn (Lord of the Dance), and more…

Workflow of a S3D feature film by Steve Schklair from 3ality Digital, Olivier Rakoto from Onyx films, and Denys Bruyère from TSF (Wednesday 25 May 2011, 16:30-17:45)

S3D for theme parks: what contents and what opportunities? with François Garnier and Erwin Schmidt, who worked together on Pina3D (Thursday 26 May 2011, 14:30-15:45)

Find all details at the event’s web site.

See the original post here:  http://stereoscopynews.com/hotnews/events/conferences-a-festivals/1492-dimension-3-is-back-from-24-to-26-may-2011-in-paris.html

Panorama 4D turns your iPhone into a 3D camera with bullet-time gyro mode

5.4.2011

 

 

[Christian Zibreg, 9to5mac.com]

Don’t hold you breath for a glasses-free 3D screen on the next iPhone, it would be very unlike-Apple to go with the tech many folks suspect is just a fad. If you’re a fan of 3D imagery, this nifty app will have you covered.

Panorama4D by OWLAB is a photography app that lets you take stereoscopic 3D images with your phone even though your device has a “dumb” 2D camera. Plus, you can slightly rotate around your subject on images bullet-time style by tilting your device. How does it work?

Simple, really. You just extend your arms and rotate to the left side until you hit the marker. The app will begin recording the video as you rotate to the opposite direction and stop when another marker is hit.

It will then analyze and align the individual frames to generate ten stereoscopic images of the subject at different angles.

There’s lot of number crunching involved in this step and if the app crashes due to fragmented memory, closing the running tasks and restarting the device will help.

When you’re ready to marvel your work in three dimensions, put on your anaglyphs glasses, choose 3D mode and enjoy. You can even chose the type of stereoscopic glasses in the app’s settings, go for a grayscale mode or enjoy your images in old school 2D. What sold me was the gyroscope 4D mode that rotates the view around your subject depending on how you tilt your device. This bullet-time-like effect is cool and provides a believable illusion of depth, but it takes a lot of practice to capture nice 4D shots and you may not be entirely satisfied with the results. Stereoscopic images look much better, but also require perfectly aligned shots.

Other features include Facebook, Twitter and email sharing, face detection that helps keep people in frame, auto flash, resolution presets (480-by-320 and 960-by-640) and cool CoverFlow-like image gallery. Available for two bucks in the App Store, Panorama 4D works on iPhone 4, iPhone 3GS, fourth-generation iPod Touch and iPad 2.

See the original post with many more pictures here:  http://www.9to5mac.com/62215/panorama-4d-turns-your-iphone-into-a-3d-camera-with-bullet-time-gyro-mode/

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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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