News Stories

3D glasses: Big sales opportunity or big hassle?

 

[by , Crave]

3D glasses are a double-edged sword for TV manufacturers. According to NPD’s 3D 360° Monitor, an aversion to wearing glasses is the second most popular reason consumers give for not wanting to purchase a 3D TV. But for those who do buy 3D TVs, glasses represent one of the best accessory sale opportunities TV manufacturers have had since the flat-panel mount. Ring up a family pack of four glasses and you can easily reach the price of what some manufacturers charge for a flat-panel 2D television by itself.

Indeed, rather than treat glasses as a throwaway, Samsung recently revamped its 3D glasses, cramming an impressive amount of technology into a wearable product 25 percent lighter than its predecessor.

The electronics giant has added a circular frame that now easily grasps around various head sizes, enables a brighter 3D picture, accommodates prescriptions, switches to Bluetooth, and adds a charging gauge, all while keeping the price to about $100 per pair.

But what if there were a way to sell an accessory to go with those accessories? Samsung is taking a crack at just that, introducing a product at CES and showing it once again at the IFA Global Press Conference in Alicante, Spain.

It’s a $200 black “top hat” charger–so nicknamed for its cylindrical shape centered atop a base plate about a third of the way from its bottom–that enables owners to inductively charge up to four pairs of Samsung’s new, lighter-weight 3D glasses. The high-tech spectacles surround the glossy cylinder, one atop the next, in a spiraling statue of tolerated technology.

In function if not in design, the accessory clearly takes a cue from charging stations for video game controllers by companies such as Nyko and Energizer–a genuine aid to the avid button masher. But does it really address a consumer need?

According to NPD’s 3D 360° Monitor, the need to recharge glasses was not one of the top obstacles among those calling glasses a somewhat or serious drawback. Indeed, the 3D home video industry would be lucky to have the “problem” of being overrun with so much content that glasses would always need to be at the ready, much less the 70 hours of viewing the glasses can last before being recharged.

The charger also draws attention to the active-shutter glasses needing to be recharged just as we are starting to see passive-glasses systems come to market that never need to be charged. While it may help eliminate the frustration that could result from finding a dead battery, consumers ultimately want a 3D experience that doesn’t require glasses, offers an excellent viewing angle, and is supported by great movies of many genres, not just a staple of animated kids’ fare.

That would be quite the hat trick.

See the original post here: http://news.cnet.com/8301-17938_105-20057973-1.html

3net – The 24/7 3D Network from Sony, Discovery and IMAX To Acquire Children’s Series “DREAM DEFENDERS”

[Press Release]

3net, the joint venture 24/7 3D Network from Sony, Discovery and IMAX, and Tiny Island Productions, Singapore’s leading Stereoscopic-3D CG animation production company announced today a deal granting 3net U.S. 3D broadcast, home video, publishing and merchandising rights to DREAM DEFENDERS.

“The acquisition of this exciting new series is an important first step in the development of a children’s programming block we will hope to debut on the network by year’s end,” said Tom Cosgrove, President and CEO, 3net.

“We are honored to have the opportunity to work with 3net to launch the stereoscopic version of our series in the U.S.,” saidDavid Kwok, CEO, Tiny Island Productions.

DREAM DEFENDERS features Zane and Zoey, twins and rivals who serve as the last line of defense between the Real World and the nightmare creatures of the Dreamworld.  Controlled by the evil Icela, ruler of Dreamworld, the nightmares have come to life and are threatening to break through and take control.  Only Zane and Zoey, and their supercomputer Zeus, stand in Icela’s way.

The 26 half-hour episodes are based on original concepts by Tiny Island Productions and produced at the Singapore-based studio. The writing team is supervised by industry veterans Eric and Julia Lewald, who have been show runners together or individually on 14 series, including X-Men: The Animated Series and Young Hercules. The series will debut on 3net in the fall of 2011.

See the original post here: http://www.prnewswire.com/news-releases/3net—the-247-3d-network-from-sony-discovery-and-imax-to-acquire-childrens-series-dream-defenders-120808979.html

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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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