News Stories

3net Begins Production on 3D Civil War Series

[by Carolyn Giardina, The Hollywood Reporter]

Stereoscopic period stills help create “a new way to do history programming,” Tom Cosgrove, president/CEO of the new 3D network from Sony, Discovery and Imax, tells THR.

3net, the new 3D network from Sony, Discovery and Imax, has taken its first step into scripted 3D production with an ambitious four-part series about the Civil War.

The program, which will be shot in 3D, is slated to debut on 3net in the fall and is a departure from most of the 3DTV content being produced at this point — sports or other live event coverage.

Under the working title The Civil War 3D, principal photography on the four-hour program is under way. The program will combine digitized stereoscopic archival imagery from the period, scripted re-enactments and character narrative. It ties in with the 150th anniversary of the start of the Civil War.

“This is based on stereoscopic stills that were taken during the time — those were really the impetus for the idea,” 3net president and CEO Tom Cosgrove told The Hollywood Reporter.“For me, the stills really take you into the place in a way that I hadn’t seen before. It started the idea of looking at a new way to do history programming.

“We started looking at telling the story through stills, then decided to use the stills to supplement re-creations and really create this world in 3D and use the stills as a touch point to get back to the original feel and look of the Civil War.”

More such programming may be on the way.

“There are thousands of (3D) stills from the time of the Civil War all the way through the end of the century and into the next,” Cosgrove related. “There is a big archive that we’ll tap into to tell these stories, and the rest will probably be re-enactments.”

3net also plans to extend beyond history programming. “We are working on several different scripted projects, scripted dramas particularly,” Cosgrove said.

David W. Padrusch will direct and co-write the Civil War series as well as executive produce with Jonathan Towers through Towers Prods. Tim Pastore will executive produce for 3net.

The narrative will include personal stories from soldiers in opposing regiments, the Union’s 20th Massachusetts and the Confederate’s 1st Virginia.

Padrusch said the series would “bring the prism of 3D technology to first-person accounts of battlefield experiences as a way of exploring the humanity and the complexity of motivations of soldiers on both sides of the war.”

“The 1st Virginia and 20th Massachusetts regiments participated in nearly every major battle in the Easter Theater, and the men in these units gave us authentic and haunting first-hand insights into America’s darkest days.” said Patrick Brennan, author of Secessionville: Assault on Charleston, who serves as historical consultant and co-writer with Padrusch.

3net, which has been on the air since mid-February, plans that this Civil War production and all 3net original programs will be lensed in 3D, rather than converted, as 3net believes this offers the highest-quality 3D, Cosgrove said.

For the Civil War series, re-enactments will in some cases be shot at the actual locations and battlefields, such as Gettysburg. The series also will be shot on location in Illinois.

With 3D content for TV still limited, 3net and other young channels in overseas territories have been exploring participation in co-productions or licensing content from one another. Cosgrove acknowledged that America’s Civil War is “obviously not as global a title as some of the natural history (programming), but we definitely have interest. We are not going to always find something that is going to resonate around the world. Sometimes we want to do things we believe in passionately that we think is going to resonate here. This is one of those.”

He added: “We already have pretty significant interest in the U.K.”

See the original post here: http://www.hollywoodreporter.com/news/3net-begins-production-3d-civil-179289

 

NAB: 3DFusion 3DFMax Glasses Free 3DTV Demonstration Announced

[Press Release]

 

3DFusion Demonstrates Glasses Free 3DTV ASD, Displaying Live Camera 3DFMax Perfect Picture

3DFusion to Unveil Live Camera 3D Without Glasses in the 3ALITY Pavilion at N.A.B. in Las Vegas

3D Fusion Corp announced today the demonstration of a significant breakthroughtechnology in broadcasting taking place this week at the National Association of Broadcaster’s trade show in Las Vegas, Nevada.

An event that most of the industry sees as five to ten years in the future, can be seen this week by Media representatives and N.A.B attendees.

 

This week at NAB in the 3ALITY Digital pavilion, outside of Central Hall, 3DFusion is demonstrating a “LIVE” 3DTV video feed from the 3ALITY Digital 3D camera array, as they capture live Basketball play on the basketball court constructed outside of Central Hall at NAB to be shown on 3D Fusion Without Glasses TV.

In the history of 3D video imaging, 3DTV’s “Holy Grail” has been the pursuit of a glasses free 3DTV platform performing at Broadcast quality 2D standards. What is called for is an A to Z, complete 3D platform upgrade, addressing all performance requirements from live camera capture to control room engineering to viewer display.

3DFusion President Steve Blumenthal made the following comparison between 3DFMax 3DTV “Without Glasses” and “With Glasses 3D”

“Though we are targeting the richness of the With Glasses 3D imaging, our 3DFMax images are designed to mimic the way the eye sees. It is a more “real” natural 3D image which can be enjoyed as effortlessly as conventional television without any eyestrain, viewing restrictions or unacceptable side effects. With the 3DFMax 3DTV technology, the viewer can adjust the 3D depth impact to his personal preference, on the fly inreal time. He has the same control as he would in correcting color or adjusting volume with his remote control”. “Now for the first time ever, continued Blumenthal, a live 3DTV, glasses free, ASD and 3D camera capture system, is presented to the NAB community.”

3DFusion’s 3DTV platform is based on a marriage between depth mapping Math algorithms and classical stereoscopic left / right 3D data, the 3DFusion PC driven 3DTV platform is the first ASD 3DTV system to demonstrate and address all of the fundamental requirements of the broadcast television industry.

“3DFusion is staking its claim as the first 3DTV Without Glasses company to come to market with a credible alternative to conventional 2D TV” commented 3D Fusion C.E.O. Ilya Sorokin.

3ALITY Digital, a long time leader in 3D broadcast has taken this opportunity to introduce their NEW line of 3D hardware and software products. As a leading 3D broadcast technology company, their technical expertise is second to none. 3DFusion is honored to have the opportunity of working with Steve Schklair and the 3ALITY Digital crew for this Live 3D camera capture historic event. “Their advanced 3D production tools will revolutionize 3DTV, and their state of the art technology solutions are a major advancement for 3DTV” stated Blumenthal.

Now, for the first time ever the 3ALITY state of art 3D video camera capture technology and a 3DFMax ASD, “Perfect Picture” display technology are being presented as a complete television industry package. No other 3D ASD company has technology, which will support live camera feeds. This is an Exclusive feature of the 3DFMax 3DTV platform.

“This is the best autostereo display I’ve seen to date” stated Steve Schklair, CEO of 3ALITY, “For certain commercial applications, the 3D Fusion ASD is ready now, and this technology for the home is a lot closer than I previously thought. Their live 3D camera capture/ASD display, complete with on-the-fly depth adjustments, clearly demonstrates beyond proof of concept-it works.”

About 3DFusion Corporation
3DFusion is a New York City corporation offering market-ready patent-pending auto stereoscopic (glasses-free) 3D display technology. In addition, the company is bringing to market state-of-the-art 3D content players and intelligent 2D-to-3D content conversion technology. The main concentration is on a few 3D-innovation-ready verticals such as 3D digital signage and content conversion for 3D cinema/broadcasting with glasses. 3DFusion live camera capture and ASD displays, are supported by a full line of technology offerings from content conversion tools, to video game plug-ins, to post production editing suites for 3D content conversion and creation. These products are being commercialized and readied for eventual consumer market distribution.

See the original post here: http://benchmarkreviews.com/index.php?option=com_content&task=view&id=14931&Itemid=99999999

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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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