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Learn how to create stereo 3D games

3D World talks to Blitz Games Studios’ Andrew Oliver and Aaron Allport, who share their expert stereoscopic 3D console gaming tips


With the movie industry already thoroughly entrenched in 3D films, the games industry is hot on Hollywood’s heels.

Blitz Games Studios proved that stereoscopic 3D games are possible on the Xbox 360 and PS3 when it released Invincible Tiger: The Legend of Han Tao in 2009.

From its experience, Blitz has compiled tips for the most important things to consider when making a game in stereoscopic 3D.

Plan and design carefully, and make sure you factor in the S-3D element right from the outset, and you’ll be able to create some incredible games.

Here, Andrew Oliver and Aaron Allport run through 7 of their best design tips for creating stereoscopic 3D games…

(Section Headers below.  Read the FULL ARTICLE with illustrations here: http://www.3dworldmag.com/2011/03/16/learn-how-to-create-stereo-3d-games/ )

01 Go behind the screen

02 Make the most of your depth

03 Use clever shortcuts

04 Keep an eye on the trends

05 Use effects wisely

06 Create new rendering tricks from old

07 Restructure the game rendering

 

 

 

 

 

 

 

 

 

Nintendo 3DS Ad Grapples With 3D Marketing

 

 

[By Jared Newmantechnologizer.com]

With less than two weeks until the Nintendo 3DS launches in the United States, Nintendo is showing off its first commercial for the 3D gaming handheld. And in doing so, the company has raised a question that comes up every time someone tries to advertise 3D: How, exactly, do you market something that can only be witnessed in person?

In a way, this issue has dogged television makers for years. Back when tube televisions ruled, electronics companies had to convince us of HDTV’s visual fidelity through words or metaphor. That’s true with any incremental improvement in picture quality. But while it’s easy to believe that a new TV simply looks better than an old one, 3D has the challenge of selling the public on an entirely different way of viewing video. Take a look at how Nintendo handles it:

 

 

I think the visual effect of jumping into and out of the game is a valiant effort. If I were 20 years younger, I’d probably be flipping out over this stuff, and it definitely does a better job of selling the 3D concept than most 3D TV ads. (My personal least favorite is the one from Panasonic where a family gets sucked into outer space, accompanied by a voiceover from a creepy, whispering child.)

One other thing that strikes me about the Nintendo 3DS ad: the users. These people are my age, which is to say they fall into the stereotypical gamer demographic. In recent years, Nintendo’s made a killing by targeting everyone else.

See the original story here: http://technologizer.com/2011/03/15/nintendo-3ds-ad-grapples-with-3d-marketing/

 

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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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