News Stories

German cable operator Unitymedia launches 3D channel

[by Robert Briel Broadband TV News]

German cable operator Unitymedia has launched its first 3D channel, which is available free of charge to all subscribers.

Viewers need the Unitymedia HD PVR and an 3D HD capable flatscreen in order to see the channel. Programming on Unitymedia 3D consists of a 60 minute loop of short movies, 3D trailers, sports clips, music clips and more.

The cable operator has also added Auto motor und sport channel to its line-up of HD channels.

See the original post here:  http://www.broadbandtvnews.com/2011/05/03/unitymedia-launches-3d-channel/

Blue movie beats blue aliens in 3D

[by STACEY WOOD, Stuff.co.nz]

A 3D porn flick from Hong Kong that beat Avatar at the box office is coming to New Zealand movie screens.

Blockbuster erotic film 3D Sex and Zen: Extreme Ecstasy is scheduled to be shown in Auckland’s Hoyts’ Sylvia Park and Botany Downs cinemas, although it has not yet been classified by the Office of Film and Literature Classification.

The film is based on the ancient novel (written by Li Yu in 1657) The Carnal Prayer Mat, which was adapted into a 1991 film.

The 3D version has broken box office records in Hong Kong, recording bigger first-day takings than James Cameron’s Avatar.

3D Sex and Zen took $450,522 when it opened last month, with numbers boosted by visitors from mainland China where the film is banned.

It narrowly missed out on the title of the world’s first stereoscopic 3D softcore porn – beaten out by South Korea’s Natali, released late last year.

Producers said “ladies’ house” women-only screenings in Hong Kong had proved popular and many had sold out.

New Zealand International Film Festival director Bill Gosden said he was not surprised to see 3D porn hitting mainstream screens.

“The connection between new film technologies and pornography is as old as film itself – I think there was a 3D porn fad back in the first era of 3D.”

The film is showing from Thursday at Hoyts in Auckland, but there are no plans yet to show it in Wellington, or anywhere else in the country.

Variety’s Russell Edwards reviewed the film late last month and called it “an eyeful of flesh, served with sadistic, spasmodic laughs”.

“Visuals are buttressed by strained sexual jokes that lose their impact in the English subtitles … although one comic highlight, involving a bungled organ transplant and a hungry dog, supplies excruciating leg-crossing laughter.”

Office of Film and Literature Classification spokeswoman Kate Ward said the distributors, Dream Movie Australia, had submitted the film for classification under urgency last week.

It was “not unusual” for films to be submitted at such short notice, she said.

In Australia, it received an R18+ rating, with a warning about “high impact sex scenes and sexualised violence”.

See the original post here:  http://www.stuff.co.nz/entertainment/film/4958029/Blue-movie-beats-blue-aliens-in-3D

< PREVIOUS ARTICLES NEXT ARTICLES >

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.

Oops, something went wrong.