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The marriage of 3D audio and 3D movies

[by , CNET]

The Studio 360 radio show will broadcast an interview this weekend with Edgar Choueiri, a professor of applied physics at Princeton University. Professor Choueiri is the director of Princeton’s Program in Engineering Physics and the chief scientist of the university’s laboratory for advanced spacecraft propulsion. Right, he’s a rocket scientist, but he’s also an audiophile.

Professor Choueiri told Studio 360 host Kurt Andersen that stereo playback over loudspeakers is a deeply flawed concept because crosstalk corrupts the natural transmission to the brain of 3D cues that exist in all stereo recordings. Crosstalk occurs in normal stereo listening when your ears hear both the left and right channels. Once the crosstalk is eliminated, stereo recordings take on a 3D quality; the soundstage is wider, deeper, and significantly more solid and realistic-sounding. Choueiri’s 3D sound doesn’t work over headphones, but can be heard over conventional stereo speakers. Right now, it only works with stereo speakers; surround systems are not part of his working model. The 3D effect is improved when the speakers are close to each other.

During the interview with Andersen, professor Choueiri mentioned that he recently talked with Sony Pictures and ESPN, and they’re both interested in shooting 3D sound and picture demos. The marriage of 3D movies and 3D sound may be closer than we thought.

The Studio 360 Web site has a bunch of 3D audio samples and a video that covers the details of 3D audio in greater detail.

See the original post here:  http://news.cnet.com/8301-13645_3-20058602-47.html

Also see this alternative report on the story:  http://www.ifc.com/news/2011/05/rocket-scientist-makes-breakth.php

4th ‘Pirates’ adventure sails to cinemas in 3D! [Philippines]

[by Manila Bulletin]

A larger-than-life Jack Sparrow, in his three-dimensional swashbuckling glory? Get this and more when Walt Disney Pictures’ “Pirates of the Cariibean: On Stranger Tides” sails to theaters in full, immersive 3D.

 

“On Stranger Tides” is the first “Pirates” flick shot with digital 3D cameras. The filmmakers make good use of the 3D imagery in action sequences, which include a shot where Penelope Cruz’s character, Angelica, tries to stab Depp’s Capt. Jack through a closed door, her sword leaping off the screen right at the audience.

 

Producer Jerry Bruckheimer and director Rob Marshall were interested from the start in doing the movie in 3D, which can boost revenues since fans pay a few dollars more than they do to see 2D versions.

 

“But the technology scared us a little, only because, you saw ‘Avatar,’ that was all done on sound stages. Nobody had ever taken these cameras out into the jungles and did a big adventure picture,” Bruckheimer says.

 

“Rob did an enormous amount of research with the cinematographer, and we finally went to Disney and said, ‘Look, we really think we can do this.’ And they thought about it for a while, because it increases the costs, but in the end, they agreed with us and said, ‘Let’s go for it.'”

 

Meanwhile, Johnny Depp’s tour guide on his “Pirates of the Caribbean” voyages is plotting the course for a fifth installment even before the fourth movie voyages into cinemas.

 

Bruckheimer says he has a screenplay in the works for a fifth “Pirates” tale after May’s “On Stranger Tides” comes out. Based on the Disney theme-park ride, the original three “Pirates” blockbusters ended up as a trilogy continuing the same key characters and story line. Bruckheimer says “On Stranger Tides” and future “Pirates” flicks will be stand-alone stories continuing the adventures of Depp’s woozy buccaneer Capt. Jack Sparrow.

 

Bruckheimer and Marshall showed off footage recently at CinemaCon, a Las Vegas convention of theater owners. At test screenings of “On Stranger Tides,” “the audience told us what they loved about it is that it was fresh, it was new, it was a whole new story,” Bruckheimer said in an interview alongside Marshall. “So that will carry over into the next one, too, to give it something fresh and different. As long as the audience embraces this one, we’ll certainly try to make another one. It’s really up to Johnny. He loves the character.”

 

Geoffrey Rush reprises his role as Jack’s rival, Barbossa, who has switched sides, no longer a pirate but a privateer sailing on the orders of the British monarchy. Penelope Cruz co-stars as the fiery daughter of the pirate Blackbeard (Ian McShane).

 

Marshall popped the question about co-starring in the “Pirates” sequel over dinner with Cruz while he was directing her in the musical “Nine.”

 

“She jumped out of her chair and said, ‘Oh, my God. I’d love to. I’ve always wanted to do an adventure like this.’ So it was perfect,” Marshall said. “I had mentioned her to Jerry and Johnny, and immediately they said yes, that seems exactly right. Because there are not that many people that really can match him. He’s so unique, and he has so many different characteristics. Charisma and sex appeal. He’s funny and he’s athletic and he’s a strong actor. So who can match that?”

See the original story here:  http://www.mb.com.ph/articles/315967/4th-pirates-adventure-sails-cinemas-3d

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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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