News Stories

Peter Gabriel’s ‘New Blood’ Concert to Get 3D Movie Release

4.5.2011

 

Eagle Rock will distribute it later this year the year across 3DTV, theatrical, digital, DVD and Blu-ray platforms in all territories.

[by Mimi Turner, The Hollywood Reporter]

Coming to a cinema near you: Peter Gabriel in 3D. Eagle Rock Entertainment and Peter Gabriel said Monday they are working on a 3D theatrical movie release for the artist’s first ever 3D project, Peter Gabriel’s New Blood 3D. The film features a live concert performance filmed on March 23, which features the artist and musician accompanied by a full orchestra at London’s Hammersmith Apollo.

“I have long been fascinated by the potential of 3D to go beyond the gimmicks and immerse people in an experience,” said Gabriel.

“We had our first 3D filming experiments in the ’80s, but at that time there was no audience or place to show them.”

Eagle Rock COO Geoff Kempin said he believed 3D could fundamentally change music performances.

“3D has the ability to truly transform consumer experience of recorded live music performance outside the concert venue. [Eagle chairman and CEO] Terry Shand and I have always been at the forefront of new technology with music video programming,” he said.

“Peter Gabriel is not only a fantastic musician and writer, he also has a strong sense of how the visual art can enhance the music experience.”

The Eagle Media production was directed by Blue Leach — whose credits include tours for Snow Patrol, R.E.M. and Toto — and will be co-produced by Peter Gabriel’s company Real World. Eagle Rock will distribute it later this year the year across 3DTV, theatrical, digital, DVD and Blu-ray platforms in all territories.

See the original post here: http://www.hollywoodreporter.com/news/peter-gabriel-s-new-blood-174351

 

Foo Fighters to Broadcast Gig Live – and in 3D – in Multiplexes Tuesday

4.5.2011

[By Joshua L. Weinstein, TheWrap.com]

The Foo Fighters will become one of the first bands ever to play a live, 3D show broadcast to movie theaters all over the country when it takes the stage in a studio in the San Fernando Valley Tuesday.

Cinedigm Digital Cinema, run by former Overture Films founder and CEO Chris McGurk, is producing and distributing what it calls the “first ever, live 3D widely released music performance.”

The performance comes one week before the band releases its new album, “Wasting Light.” The band will play the entire album.

Before the live show, audiences will see the documentary “Foo Fighters: Back and Forth,” produced and directed by

Oscar and Emmy winner James Moll.

McGurk told TheWrap that the movie and concert will appear on 120 screens at 82 movie theaters in 30 states.

While McGurk said he is excited about the concert, he told TheWrap that the event demonstrates — especially at a time when exhibitor-studio relations are particularly low — the potential of nontraditional programming.

“It’s an example of the great types of new and innovative content that they can put in their theaters — particularly during the weekdays, when the average audience is less than 5 percent of the seats,” he said. “When you put content in there like this concert or a sporting event or others, we found you can fill up the theater on a Tuesday or Wednesday night, and that’s pretty exciting for exhibitors.”

Tickets are available at www.foofightersfilm.com.

See the original post here: http://www.thewrap.com/media/article/foo-fighters-play-first-ever-live-widely-released-3d-show-26144

 

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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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