News Stories

Britain has led the world on 3D, says Sky

5.2.2011

[By Patrick Goss, TechRadar]

Sky’s Brian Lenz believes that Britain has led the world in 3D, with the entire UK media industry helping adoption by its production and adoption of the technology.

Speaking in an interview for TechRadar’s Brit Week, Lenz – the director of product development – insisted that the UK ahs not just led Europe, but carried the torch for 3D on a global level.

“10 years ago, we might have judged success in Britain by being the first European nation to do something that has happened in the US, but now, a decade later, with something like 3D the UK has led the world,” said Lenz.

“That’s not just Sky, but the entire UK media industry leading the world because of the acceptance, adoption, the notion and the interest.

“That shows the receptiveness and forward thinking nature of the UK – and not just in our segment.”

Cambridge

Lenz, who also discussed the rise of the companion device for our televisions and Sky’s role as an innovator, believes that the UK has “untapped potential“.

“Ten years ago the UK was not in a position to lead, but more recently things like ARM and what is coming out of Cambridge are doing just that, and there are an increasing number of times where we look at innovation that there are British alternatives to consider rather than automatically looking to Asia or Silicon Valley,” he added.

“I think the vibrancy of this market is incredible compared to a lot of places.”

See the original post here:  http://www.techradar.com/news/television/britain-has-led-the-world-on-3d-says-sky-947821

3D fever hits Sandalwood too!

5.2.2011

[By Kavya Christopher | Place: Bangalore | Agency: DNA]

Yes, the budgets in Sandalwood are a lot smaller when compared with Bollywood. But that does not stop directors here from experimenting with the latest technological fad that has caught the fancy of filmmakers across the world.

Film producer Rakshita says, “We have shot a song for our next film Jogaiah in 3D. The audience will be required to wear their 3D glasses when that one song gets aired on screen.” Sounds confusing? “It might put a section of the audience in a quandary, but since we are planning on releasing this 3D version only at the multiplex and only a few of the main cinema screens, we expect that there will be no issues for the audience to figure out when they should use the glasses,” she says.

Sources tell us that the above song has already been canned. “Director Prem has left no stone unturned to ensure that his first home production as well as Kannada star Shivarajkumar’s 100th film — Jogaiah — is one that will be talked about for years to come. He has spent a lot on graphics as well as 3D technology on one song which has already been shot.” This is surely one of the many reasons to watch out for as far as this film is concerned.

See the original post here: http://www.dnaindia.com/entertainment/report_3d-fever-hits-sandalwood-too_1538493

 

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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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