News Stories

iPad app shows US library’s Civil War images in 3D

[by AP]

A new iPad app developed from images from the Library of Congress is giving viewers a look at the Civil War in 3D.

The app is called “History 3D: Civil War.”

It includes images from photographers such as Mathew Brady and Alexander Gardner. The 3D images were created from the original glass-plate negatives held by the Library of Congress.

Matt Raymond, the library’s former communications director, created the app and will donate the 3D images back to the library. He says many familiar Civil War images have a different look in 3D.

About 24 images are presented, along with pop-up commentary.

Other images from key Civil War battles and other events will be released later.

The app has been launched on iTunes and can be downloaded for $1.99.

See the original post here: http://www.starnewsonline.com/article/20110428/WIRE/110429680/-1/sports03?Title=iPad-app-shows-US-library-8217-s-Civil-War-images-in-3D

The 3D future is here

 

[Written by Russell Plummer, Fon du Lac,Wisconsin reporter]

Blue and red glasses have evolved to breathtaking big screens and glasses-free 3-D.

Following the popularity of 3-D theatre movie hits like “Avatar,” “Toy Story 3” and “Jackass 3-D,” video game manufacturer and publisher Nintendo has taken the first swing at glasses-free 3-D with the launch of the handheld Nintendo 3DS system.

 

“The movie industry has really buffered people for the idea of 3-D,” said Scott Lowe, gear editor at IGN, a popular Internet website for people seeking information on video games, technology and other entertainment. “Ultimately, 3-D is not a strange concept since it’s been around for ages. Now it is being pushed into the mainstream.”

 

And prices are plummeting in the television market with high-definition (HD) 3-D-ready sets priced at whatquality HD TVs cost one year ago.

 

“It’s getting to the point where the 3-D TVs might have a little bit brighter screen, an extra input and ‘Oh, by the way, it’s 3-D-ready,’” said Tony Doll, sales associate at Ray’s TV and Appliance, 33 S. Pioneer Road. “The cost gap has really dropped.”

Price drops

Ray’s TV offers 50-inch 3-D-capable TVs between $900 and $1,500, down in price by about $1,000 since this time last year.

 

Some people are getting interested in bringing the theater experience into their home, said Lowe.

 

“It (3-D) has become a standard feature in a lot of ways,” Lowe said. “If you look at most of the TVs currently available, they feature 3-D. The key difference between this time last year and now is that they have made the technology cheaper and a sort of innocuous feature some people don’t even know they have. They can involve themselves in the 3-D if they want to, but it is not being shoved down their throats.”

 

When it comes to televisions, there are two ways to view the 3-D effect: passive and active.

 

Passive glasses do not require a power source and cost a little over $20, said Doll.

 

Active glasses have recently dropped as low as $50 and require power to open and shut each lens to show each eye a different image.

“Active technology has the benefit of being smoother and less jarring to your eyes,” Lowe said. “You get a more rich and detailed 3-D effect. There are reduced issues in terms of blurring and perception.”

 

Doll said his customers prefer the cheaper option.

The glasses

However, there is one problem that is weighing on the bridge of everyone’s nose.

 

“Most people are still not really interested in 3-D,” Doll said. “We’ll get a few customers seeing more ads and 3-D movies in the theater and coming in specifically asking for it.

 

“It’s the glasses, to be honest,” he added. “People just don’t want to wear glasses.”

 

That is where Nintendo hopes to grab eyeballs and sell its $250 handheld system featuring a touch screen on the bottom and a widescreen 3-D-optional screen on top that allows for 3-D gaming, movies and photographs.

 

Vertical lines split an image in half, with one going to the left eye, and the other going to the right eye to create the illusion of depth and objects popping out of the screen, according to the official website of Dr. Michio Kaku.

 

At the most recent Consumer Electronics Show, numerous companies showed off glasses-free 3-D tech in handheld form, said Lowe. While it may look like a window into the future, there are issues that will keep glasses going for now.

Angle

“If you are not looking at it (3DS) at the most perfect angle, you’re essentially losing the 3-D effect and there is a jarring transition between different angles,” Lowe said.

 

Doll said if the 3DS technology is blown up to a big screen, people are going to be sitting close on the couch.

 

“You are limited to two or three people in front. The farther out you get, the worse the effect is,” Doll said.

 

Lowe added that even if a company were to develop a glasses-free 3-D TV viewable at multiple angles, switching positions would briefly distort the image.

“Glasses-free 3-D is helpful,” Lowe said. “I don’t think it will be as successful as the glasses technology because, by the very nature with glasses-free, you have to be at a specific viewing angle. If you are not, it’s, for lack of a better word, ‘terrible.’”

 

 

See the original post here:  http://www.fdlreporter.com/article/20110429/FON0101/110428156/The-3D-future-here

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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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