News Stories

3D Projection Mapping: 10 Jaw-Dropping Examples [VIDEOS]

4.25.2011

[by Amy-Mae Elliott, Mashable.com]

Generating extra buzz around marketing campaigns worldwide is 3D projection mapping, a relatively new technology that animates stationary objects with 3D video. With added sound effects and music, the result is a remarkable and immersive experience.

“Projection mapping can provide a great double whammy if used right, because you get a great live event, followed by a compelling video and PR opportunities. But, if that’s the aim it’s important to think about the film when planning the projection — the sense of scale you get live won’t be replicated on YouTube,” cautions Matt Smith, director of strategy for The Viral Factory.

“Good camera work, slick editing, and a rocking soundtrack will all help drive the film, but if the projection is too detailed it will still get lost.”

So, while we wait to see if this a temporary craze or soon to become standard in the marketeer’s toolbox, take a look through our gallery of great examples of such projections on buildings. This list is by no means exhaustive, so please let us know about any impressive versions you’ve seen in the comments below.

SEE THE 10 VIDEOS HERE: http://mashable.com/2011/04/24/3d-projection-mapping/

BTES digital customers to get 3D, HD upgrades

4.25.2011

[Philip Lelyveld comment: news of a small Tenn. system upgrade]

[By ROGER BROWN, tricities.com]

Bristol Tennessee Essential Services officials said the company is nearing completion of a multi-million-dollar project that will make Video On Demand, extensive HD and 3D channels and other television features  available to BTES digital customers by late summer.

“We’re going to be putting Bristol residents on the cutting-edge of TV technology,” BTES Power Boardmember Kelly Graham said, regarding BTES’ plans to offer Internet Protocol TV — commonly known as IPTV — in Bristol households by late August.

Graham said IPTV will give Bristol residents “just as many state-of-the-art TV features as any community in the country. And a lot more than a whole lot of communities,” he said.

BTES CEO Mike Browder said the utility will hold a June trial test of the IPTV system in a handful of homes before fully rolling it out two months later.

“We’ve wanted to provide our customers with more content and wider access when they watch TV, and now we’re just about ready to do it,” Browder said.

He offered no details on what customers might be charged to receive the service, which will also let viewers watch DVR recordings from multiple TV sets and set DVRs from locations outside their homes.

While BTES has an estimated 33,000 electricity customers in Bristol and parts of Sullivan County, more than 12,000 of them also have cable, phone and/or Internet service.

Last November, Power Board members gave BTES approval to spend up to $5.5 million to install the IPTV system in its service area.

Browder has said IPTV would create a “huge wow factor” among existing customers — as well as attract new viewers and give BTES one of the most advanced cable systems in Tennessee.

“It’s going to be an exciting addition to what we already provide our customers,” Browder said.

See the original post here: http://www2.tricities.com/news/2011/apr/24/btes-digital-customers-get-3d-hd-upgrades-ar-991877/

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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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