News Stories

Sony Adding Web Features and 3D to 2011 HDTVs

4.14.2011

 

[By Rachel Cericola, CEPro.com]

Sony upgrades Netflix GUI on 2011 HDTVs and adds web features such as Crackle, Hulu Plus and Moshcam.

Sony‘s 2011 HDTV lineup will have 37 models to choose from, including 32 web-enabled TVs and 23 with 3D features.

Sony is also adding new features to the 2011 TVs, including an enhanced Netflix GUI, which will also be offered to existing BRAVIA customers starting in April. Available via a firmware upgrade, the new experience allows Netflix subscribers to browse and access thousands of TV shows and movies straight from the TV’s remote.

Other new offerings include free movies and TV shows from Crackle; the subscription-based Hulu Plus; snow, surf, skate and wake action via Billabong; live concerts on Moshcam; and more than 100 easy-to-use TV apps via the Yahoo Connected TV Store.

Besides a new Monolithic Design Concept (now with Corning’s Gorilla Glass!), the 2011 BRAVIA HDTVs will also include Sony’s new X-Reality and X-Reality Pro picture engines, Intelligent Peak LED Backlight, the OptiContrast panel, and MotionFlow XR technology.

Sony says the new services will also be offered on select A/V receivers, Blu-ray players and Sony’s Streaming Player with Wi-Fi.

See the original story here: http://www.cepro.com/article/sony_adding_web_features_to_2011_hdtvs/K5

UP3D – United Professionals of Stereoscopic 3D – organization formed

4.14.2011

[Philip Lelyveld comment: It isn’t clear from the website or web search how significant this org is.  I wanted to make you aware of it.]

[From their website]

United Professionals of Stereoscopic-3D is an association whose aim is to:

  • – Federate and Energize the community of Stereoscopic-3D professionals
  • – Inform and Communicate about the trades, techniques and equipments specific to Stereoscopic-3D
  • – Promote and Structure the development of Stereoscopic-3D in Europe

UP3D membership is 100€ for individuals and 300€ for companies. The UP3D web site is in French and English.

——–

Master Class 3D: Case Study

In partnership with UP3D (United Professionals of Stereoscopic-3D), AST provides an overview of documentary production in 3D, with projection of short sequences.

 

Lionel Fages, producer (Cube Creative) will present animation sequences and Sylvain Grain, General Secretary of the UP3D, will introduce the session and present the context.
Stéphane Millière and Laurent Baujard, Gédéon Programmes, will tell the technology epic of the Makai, the lost world adventurersproduction, for Canal+.
Yves Bourgeois, Docside, will present sequences of his intention to transfer its Touch and Go documentary on the aircraft-carrier Charles de Gaulle in 3D from 2D.

See this full post here: http://www.science-television.com/en/rdv/241/master-class-3d-case-study/?&PHPSESSID=6e3a9ff4d6416ec96df75f7c11faf1bc

 

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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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