News Stories

Sky 3D to show ESPN FA Cup Final

[by Julian Cloverbroadband tv news]

Sky 3D is to screen ESPN’s coverage of the FA Cup Final between Manchester City and Stoke City this Saturday, May 14.

It will be the first time that the sports channel’s UK operation has produced its own 3D event, though coverage of ESPN’s Winter X Games 15 was shown on Sky 3D in February. ESPN is planning a 12 hour broadcast around the FA Cup that harks back to the kind of attention the football trophy received in the 1960s and 1970s, when the match would be shown simultaneously on both the BBC and ITV, and was the only domestic match to be shown live all year.

ESPN now shares the rights with ITV, alternating coverage of earlier matches, and sharing the rights to Saturday’s final.

Sky 3D will join ESPN at 12.30 and stay with the match until after the final whistle and presentation.

The commercial free coverage will be available to domestic Sky World HD subscribers and the 1,500 pubs with Sky 3D screens.

See the original post here: http://www.broadbandtvnews.com/2011/04/26/52184/

Sony Enters Tablet War With Wedge- and Burrito-Shaped Devices

“Android 3.0 is a new version of the Android platform with a new holographic user interface that is designed from the ground up for devices with larger screen sizes, particularly tablets.”

[By Charlie Sorrel,

Sony has shown off a pair of tablets that will launch later this year. The S1 is little more than yet another Honeycomb tablet in a Sony-designed box, with a 9.4-inch widescreen display and a wedge-shaped case.

Way more interesting is the S2, a clamshell tablet with two 5.5-inch screens. Each section has a rounded back, making it look like a squashed burrito when closed. When open, you can use it as a tablet with a black stripe down the middle, or each screen can display different content, similar to the dual-screen Nintendo DS consoles.

And the gaming analogy is apt. The tablets will work with the PlayStation Suite platform, which is Sony’s way of putting PS software onto various devices. We got our first glimpse of it on the PlayStation phoneat the Mobile World Congress in Barcelona earlier this year. For more on the gaming aspects of the tablets, head over to our sister site Game|Life where Chris Kohler takes a look.

Both tablets will come with Wi-Fi and optionally 3G or 4G, and run Honeycomb. And both tablets will also pack infrared lamps to control Sony Bravia devices. They’ll also beam music and video to compatible devices via the DLNA wireless protocol, which is similar in concept to Apple’s AirPlay.

All in all, these look like pretty neat devices, especially if you are already heavily invested in Sony gear. Price and availability are both as yet unannounced, but if you pencil in “expensive” and “later this year” then you won’t go far wrong.

Lastly, a weird quote lifted from Sony’s press release. Talking about the OS, Google’s Android boss Andy Ruben apparently said the following: “Android 3.0 is a new version of the Android platform with a new holographic user interface that is designed from the ground up for devices with larger screen sizes, particularly tablets.” Holographic?

See the original post here: http://www.wired.com/gadgetlab/2011/04/sony-enters-tablet-war-with-wedge-and-burrito-shaped-devices/?pid=1755

< 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.