News Stories

EDCF Guide to 3D Cinema

[by StereoscopyNews.com]

Furthering its reputation for producing high quality publications explaining the technology of Digital Cinema, the European Digital Cinema Forum (EDCF) has now published its long awaited Guide to 3D Cinema. The basics of 3D are explained and the technologies are examined in detail with sections on mastering for 3D, a look at current screen technologies and a review of the screen brightness issue and screen brightness measurement.

Contents : Introduction by Peter Wilson (HDDC); Vision by Dave Monk, CEO EDCF; System Overview, by Siegfried Foessel (Fraunhofer IIS), Mastering by Jim Whittlesey (Deluxe Labs), Projection by David Pope (XDC), Projection efficiency by Matt Cowan (RealD), Screens by Andrew Robinson (Harkness screens); Exhibitors, by Frank de Neeve (Pathe Cinema); Brightness issues and conclusions, by Peter Wilson (HDDC); Glossary, by Angelo d’Alessio (Cine Design Group).

This publication is free to EDCF Members. For non-members, please contact the EDCF office here for pricing details.

See this original post here: http://stereoscopynews.com/references-links-books/books/1399-edcf-guide-to-3d-cinema.html

 

Television chief expects early bottom line boost from 3D TVs

[by Kim Yoo-chul, Korea Times]

LG Electronics’ TV chief Kwon Hee-won sees his division gaining momentum thanks to the recent release of value-added TVs and cost-cutting efforts.

At the center of Kwon’s upbeat outlook is 3D-ready television that’s being developed using film-type patterned retarder (FPR) technology.

“No doubt, LG’s television business will improve in the first quarter from the previous one by profit,” Kwon said in a recent interview with The Korea Times.

“The sale of our FPR 3D televisions will rise sharply. LG plans its biggest-ever promotional campaigns for the products,” said the top executive.

Kwon said LG’s 3D televisions were made available to consumers in Germany and France last month, while top-tier U.S. electronics retailer Best Buy started selling the sets in America last week.

3D TVs are still nascent as consumers aren’t prepared to pay a premium for the sets amid a lack of customized content and falling prices for existing LCDs, LED-backlit LCDs and plasma models.

But the market is steadily growing because leading TV makers including LG’s cross-town rival Samsung and Sony of Japan are investing more for 3D televisions as part of their strategies to find next earnings sources.

LG’s FPR, which eliminates cross-talk (image overlap) and flickering, is its answer to shutter-glass 3D televisions developed by market leader Samsung.

LG’s TV division posted a 121.8 billion won operating loss during the fourth quarter of 2010, hit by sluggish TV demand, and higher marketing costs to lower inventories.

Kwon said LG’s 3D glasses are lighter, cheaper and cause less blurred vision.

“That’s why Japan’s Sony, a strong backer of Samsung’s shutter glasses technology, has taken an interest in FPR 3D for smaller sets. If the price of the glasses is high then consumer won’t buy them,” said Kwon.

LG has Philips of the Netherlands, Vizio of the United States and several leading Chinese TV makers in its FPR camp. But the name values are far behind those of Samsung’s partners which include Sony and Panasonic.

“Consumers will tell. That’s my current answer,” Kwon said.

Sony’s local representative Hong Ji-eun declined to comment whether or not the Tokyo-based outfit will adopt LG’s FPR technology for its upcoming 3D television models.

Kwon said the FPR sets were well received by executives at major Japanese retailers and top-level gaming companies.

LG has formed strategic alliances with Microsoft (MS) and Blizzard, developer of StarCraft and World of Warcraft and king of the multiplayer online role-playing game market, to develop more affordable software applications.

“In Japan, LG has bargaining power on whether to provide products with FPR technology to the biggest Japanese retailer,’’ said Kwon.

Japan is the toughest markets for foreign makers to bolster their presence due to higher consumer standard. But Kwon said LG’s televisions have seen steady improvement in awareness, there, and added LG will stick to its premium-oriented strategy in the neighboring country.

Despite a stronger Korean won against the greenback, the executive said the currency impact on its TV business will be limited, though LG is closely monitoring the situation following the massive earthquake and tsunami that struck northeast Japan on March 11.

“Challenges on global economic risks are still there. But LG doesn’t think the global economy will see a double-dip recession this year,’’ said Kwon.

For export-driven companies such as LG and Samsung, which makeover 75 percent of their sales outside the peninsula, a stronger Korean won sees their products lose price competitiveness overseas.

See the original post here:  http://www.koreatimes.co.kr/www/news/tech/2011/04/129_84439.html

< 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.