News Stories

NAB: EVS introduces IPEdit.3D, the First 3D Live Editing Solution

3.29.2011

EVS presents IPEdit.3D, the first 3D live editing solution featuring a complete timeline editing performance without rendering. IPEdit.3D will be unveiled and exhibited at the NAB Show in Las Vegas (April 10th-14th) at the EVS booth C9508 (Central Hall).

Introduced in 2009, IPEdit is IPDirector’s timeline editing module, which is EVS’ content production management suite.  IPEdit is the first tool giving operators, working on fast-turnaround productions, the same workflow as the non-linear edit controller while opening up all possibilities of a tapeless world. The solution has been adopted by worldwide broadcasters for daily events and productions requiring ultimate speed and efficient editing. The new timeline editor offers a direct control over recording and playout channels using EVS’ XT & XS series servers. It ensures immediate access to multiple live feeds (such as multiple ISO cameras) for quick-fixing or on-the-fly highlight package operations.

With the introduction of the new generation of EVS XT servers, XT3 features new DualPower technology. Broadcasters now have the possibility to manage up to six IN/OUT 3D channels on one single server. IPEdit.3D offers immediate control over multiple 3D channels recorded and played back by the new servers.

It offers all the advantages of 2D live editing operations in 3D mode, giving broadcasters full flexibility to switch from 2D to 3D, either in dual link or in 3G SDI input/output configuration. IPEdit.3D is the perfect solution for ‘on-the-fly’ 3D highlights and closer creation, as well as for quick program assembly with intuitive timeline editing functions like drag-and-drop and keyboard shortcuts for easy 3D video and audio transition effects.

Its unique architecture, which never requires edit rendering, allows a 3D edit while simultaneously working on it in the timeline. This ‘edit-while-playout’ mode gives extensive flexibility to 3D broadcasters working in a fast turnaround production environment.
IPEdit.3D can also be used to handle rough cut editing with simple mark IN/mark OUT, on multiple live 3D feeds to facilitate further post-production processes using third-party editing tools.

Pierre Mestrez, Product Manager of IPEdit at EVS comments: “IPEdit.3D aims at contributing towards a growing number of 3D broadcasters, allowing them to assemble 3D highlight packages and provide finished edits a few minutes or even seconds after the live feed. IPEdit provides the ultimate level of speed and reliability of EVS live solutions combined with true timeline-editing performances.”

An EVS press conference will be held on Sunday, April 10th at 5:00 p.m. in room N242 at the Las Vegas Convention Center. Please confirm your presence by emailing us at m.delepont@evs.tv.

See the original post here: http://www.evs.tv/Europe,+Middle+East+Africa/English/News/News/Press-Releases/Press-Release/page.aspx/1766?newsitem=3784

LIGHTSPEED DESIGN, INC. TO DEBUT THE DEPTHQ® POLARIZATION MODULATOR FOR 3D DIGITAL CINEMA

3.29.2011

[Press Release]

[Philip Lelyveld comment: Lightspeed is an ETC equipment donor and supporter.]

Lightspeed Design, Inc. / DepthQ® is pleased to announce the debut of the new DepthQ® Polarization Modulator for 3D Digital Cinemaat the CinemaCon tradeshow (Booth #305A) at Caesar’s Palace in Las Vegas, Nevada, March 29-31. When combined with a silver screen, the DepthQ® Polarization Modulator allows your digital cinema projector to display stunning stereoscopic 3D films, viewable using inexpensive passive circular polarized glasses.

Paired with projectors up to 18.5K ANSI Lumens, DepthQ® provides a spectacular 3D experience for screens up to 13.7m (45ft). DepthQ® meets Hollywood’s demanding image quality standards by precisely and efficiently varying the polarity of light passing through it in perfect synch with the “triple-flash” of left and right eye images. An unprecedented symmetrical 50 microsecond switching time between the eyes ensures bright, low-crosstalk operation.

Features include:

  • Bright, low-ghost 3D
  • Crisp, sharp image
  • Heat-tolerant, accepts up to 22K Lumens
  • With 18.5 K lms, 3D screen sizes up to ~13.7 m (45 ft)
  • Simple, easy to setup and use
  • No moving parts – low cost/maintenance
  • Works with all DLP projectors
  • Compatible with standard polarized 3D glasses
  • Two position actuator allows easy switch between 2D and 3D
  • Simple, single-cost business model
  • Approved by Walt Disney Studios Motion Pictures

The DepthQ® Polarization Modulator is co-developed by Lightspeed Design, Inc and LC-Tec Displays, AB. The two companies have over 18 years of experience in their respective fields of stereoscopic design and liquid crystal manufacturing and development. Lightspeed Design is the exclusive worldwide distributor of the DepthQ® Polarization Modulator.

The system includes the liquid-crystal modulator as well as its control unit, plus hardware which mounts the unit to the front of your projector, and an actuator to move the modulator in and out of the projection path (for switching between 2D and 3D). Sync output from your projector’s GPIO port is supplied to the control unit, which then conditions the signal to match the modulator’s required input.

For more information, go to www.depthq.com/cinema-modulator.html or contact our sales department at sales@lightspeeddesign.com or at +1-206-784-1385.

See the original post here: http://www.lightspeeddesign.com/news.cgi

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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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