News Stories

Nintendo 3DS three weeks in (review)

 

[by , CNET]

So, I got a Nintendo 3DS roughly three weeks ago, ahead of the officially released one that’s now in stores everywhere. Nintendo’s handheld is in the wild, and while I’ve used mine a fair amount, I’m curious how those not in tech journalism feel about the product.

I was pleasantly surprised by the quality of the 3D effect on the 3DS, but I wondered whether 3D would be a gimmick whose appeal faded quickly. Much like any shiny new gadget, there’s a quick fascination period that tapers off pretty fast, especially if you’re the type (as I happen to be) who plays with a lot of gadgets over the course of any given month.

Several weeks in, here are my observations.

I (almost) never use the stylus.
The DS’ chief appeal, along with dual screens, was its touch element. The 3DS still has a stylus and a lower touch-screen, but the stylus is tucked away in the back behind the display, instead of easily accessible on the side. Maybe this was a wink of acknowledgement on Nintendo’s part, because so far I’ve barely used touch. Why? Because I’m too busy staring at that big 3D screen, that’s why. The addition of a great analog pad also means I’m far more likely to use physical buttons. The 3DS is an immersive portable experience, and I’m far less interested in pulling back and tapping away with a stylus. I think most 3DS games will make little to no use of that touch capability, except in cases like Super Street Fighter IV, where virtual lower-screen buttons are simply pressed with a finger.

 

I still prefer to play in 3D.
While the Nintendo 3DS has much-improved graphics over its predecessor, 3D’s the big draw. All games can be converted to 2D by sliding the analog 3D slider all the way down, but my attitude was the opposite: if I could choose 3D instead, I’d rather. The 3DS games don’t require 3D in order to work, but in nearly all cases I felt like 3D helped me discern objects–especially small ones. It also creates a greater sense of depth, effectively increasing the virtual size of the screen. The viewing range of background objects even seems to be slightly better in 3D. I’ve learned how to deal with the limitations of 3D on the 3DS–namely, I try not to move the system too much. Racing, flying, and sports games seem to work best.

StreetPass is an interesting viral trick. I think I want more.
Nintendo’s support of true online play isn’t great–and can’t really be determined until the full system update in May–but the 3DS’ ability to trade info wirelessly while in sleep mode, called StreetPass, is actually kind of fun. I’m weirdly hooked on the “Find my Mii” game built into the 3DS, which uses Miis found while wandering around NYC to battle creatures in a weird RPG-style minigame. I’ve come home and found strange Miis and game trophies–even racing data–appear on my 3DS after a day carrying it around. Used well, this could be the source of some fun bonus content. Dragon Quest IX for the DS used this feature liberally. Of course, I’ll need to find more 3DS owners…right now, they’re few and far between. Most of the Miis I discovered were at gaming press events.

The battery life still feels bad.
I haven’t really played enough to run out in a day, but the battery life’s bad enough that I have to always keep an eye on my usage and fiddle with the brightness controls, things I never had to worry about with previous DS hardware. One bright side: the quick Wi-Fi toggle button on the side of the 3DS makes turning wireless on/off a relative cinch.

Augmented reality is gimmicky.
The AR Games app built into the 3DS is one of the system’s show-off centerpieces. Included coded cards enable eye-popping reality-invading 3D effects. Yet, the 3D effect tends to disconnect whenever I tilt the system too much in AR mode. AR gaming needs more killer apps and ideas to really be more than a quick one-trick pony. Will more cards or downloadable games become available in May? I’ve lost interest at this point, mostly because I never feel like whipping out that packet of cards.

I wish there were quick-fix 3D puzzle games.
I’m sure the eShop launching in May will fix this craving, but the 3DS really needs some cheap, intriguing “art style” 3D games, stat. Puzzle games in 3D (Picross 3D seems like a slam-dunk) seem like a particularly good fit.

Game I’ve played most: Pilotwings Resort (runner-up: Ridge Racer 3DS)
Game I’ve played least: The Sims 3 (runner-up: Steel Diver)

See the original post here: http://news.cnet.com/8301-17938_105-20051371-1.html?tag=mncol;1n

 

World’s first 3D fashion show, CATWALK 3D, in 3D cinemas across Europe and the Middle East this May

[Press Release]

XPAND 3D today announced that it is partnering with XDC , the n°1 digital cinema service company in Europe, to deliver CATWALK 3D, the world’s first 3D fashion show featuring Jean-Paul Gaultier, Valentino and other elite designers, in 3D cinemas across Europe and the Middle East this May. Previously only seen by the world’s fashion elite, now moviegoers in the UK, Germany, Spain, Belgium, Austria, Switzerland, France and Russia and other countries soon to be announced, will have the opportunity to view world-class fashion with stunning, world-class 3D technology.
XPAND, the world leader in 3D and the brand behind the Universal 3D glasses, has combined cutting-edge style with world-class 3D technology to deliver an up-close and personal view of the Fall 2010/Winter 2011 Haute Couture Fashion Week. The movie features select shows by some of the world’s most elite and up-and-coming designers including: Jean-Paul Gaultier, Valentino, Christophe Josse, Georges Hobeika and Stéphane Rolland.

To deliver CATWALK 3D to Europe and the Middle East, XPAND is partnering with XDC, which is responsible for marketing, sales and distribution of the film to the cinemas.

“With CATWALK 3D XPAND has elevated the art and beauty of fashion to a new level of excellence,” says Maria Costeira, Chief Executive Officer of XPAND. “Releasing CATWALK 3D to cinemas across Europe will allow everyone, not just the fashion elite, to appreciate and experience the very essence of couture. We are thrilled to be able to bring high fashion and our leading 3D technology together.”

“We are very honored to have this agreement with XPAND for the distribution of CATWALK 3D across Europe and the Middle East,” says Fabrice Testa, Vice President Content & Network Services, XDC. “After so many years that XDC spent to contributing to the deployment of the European digital cinema infrastructure, XDC is now fully committed to become a major player in the distribution of alternative content. CATWALK 3D highlights a new kind of alternative content program for theaters. Our vast network of exhibitors is looking for innovative content in addition to the current offer which is mainly operas and ballets. Fashion is very attractive and can be associated with clothing retailers to make the inside the lobby of the cinema an amazing display just before the screening. It’s just the beginning of a new way for exhibitors to do cinema, and for the audience to experience cinema!”

The release into cinemas is scheduled on May 17th, 2011. Interested exhibitors can get info and make their booking by contacting Frank Smith, Alternative Content Sales Manager, XDC by email at HYPERLINK “mailto:fsm@xdcinema.com” fsm@xdcinema.com.

See the original press release here: http://www.dcinematoday.com/dc/pr.aspx?newsID=2286

< 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.