News Stories

Get your specs on – it’s a 3D revolution

[Philip Lelyveld comment: the story is about a new Russian native-3D production company and conversion house entering the US market]

[by Oleg Nikishenkov, themoscownews.com]

A group of US and Russian businessmen have set up a venture to bring Russian 3D technologies to Hollywood.
Leonard Nebons, a consultant and private investor, together with Mike Lane, a partner in the Los Angeles-based company 4Intertainment, and Oleg Stepanov, head of Russia’s 3DTV Vision, found each other last year when then-California Governor Arnold Schwarzenegger visited the Russian capital.
“We had a meeting with Arnold Schwarzenegger at Spaso House and told him how much Russians love his movies, and that we could reissue his movies in Russia in 3D,” Nebons told The Moscow News in an interview.
Lane, a music marketing executive who has promoted such talents as Motley Crue, Blondie, Yes, Meat Loaf and The Cranberries, also got on board. His first Russian assignment was Fox Home Entertainment’s project to promote a new DVD electronic magazine business worldwide.
Quality issue

Nebons said that Schwarzenegger’s people were initially concerned about the quality of 3D movies produced in Russia, but they were soon persuaded it was no problem. “We checked movies made here together and they discovered that 3D in Russia was as good as in Hollywood,” Nebons said.
The films and cartoons were converted into 3D by Stepanov’s company. His portfolio includes BBC’s “Turtle, The Incredible Journey” and Russia’s “Belka and Strelka: Star Dogs”.
Stepanov has been working on developing 3D in Russia for the last five years. He told The Moscow News that he was offered a job in a joint venture between cable network NTV-Plus and Panasonic, who launched the first Russian 3D TV channel, but decided to focus instead on movie-making.
Conversion the key

“All 3D channels will face the problem of content and they’ll come to companies like ours,” Stepanov said. In the future 3D TV channels will have to convert a lot of old, classic movies if they want to avoid constantly repeating content, he said.
Electronics manufacturers hope to produce some 100 million 3D TV sets worldwide in the next three years, but these plans depend on there being enough 3D content. While the current average price for a 3D TV set in Russia is about $2,000, production of a TV movie and even conversion from 2D to 3D remains incredibly expensive and it takes long time to do it, Stepanov said.

The average 2D-3D conversion cost in Hollywood varies greatly, from $20,000 to $100,000 per minute of film, depending on the technical complexity of movie scenes.
Offering a discount

Nebons and his partners claim their venture can offer a 40 per cent discount on Hollywood’s conversion rates.
The first Schwarzenegger movie expected to get the 3D treatment is his 1984 classic “The Terminator”, which is quite a complex technical challenge. Nebons, Lane and Stepanov are hoping that Russian 3D technicians will be hired to do the conversion work.
“We’ll make the 3DTV not just local, but an international company, given that software specialists from Russia already have good reputation here,” Lane said.
Jumping on the bandwagon

Russia has still a long way to go to catch up with Hollywood, where already more than 100 movies have been produced in 3D.
The biggest worldwide 3D sensation so far, James Cameron’s “Avatar”, was a smash hit in the Russian box office too, prompting Russian film companies to jump on the 3D bandwagon.
About 800 of Russia’s 1,800 cinemas are already equipped to screen 3D movies, including all new cinemas being opened, Stepanov said.
But just showing a film in 3D is no guarantee of success. Andrei Konchalovsky’s “Nutcracker”, released at the end of 2010with a $90 million budget and 3D made in Hollywood, was a flop commercially.
New artistic formats
The 3D format could also breathe new life into other artistic spheres, said Lane, potentially turning a museum into a concert hall and giving a new dimension to art galleries.
“3D will change how we look at visual arts within the next two years,” he said.
Moscow has seen some evidence of this trend already, with Yury Bashmet’s orchestra trying an experimental performance in the city last November. During the concert Russian avant-garde paintings from the Tretyakov Art Gallery were shown in 3D. Although ticket prices were set high for Moscow, at $80 to $300, the concert was completely sold out.

See the original post with more pictures here: http://themoscownews.com/bizfeature/20110314/188492672.html?referfrommn

 

 

 

 

 

 


High TV to launch worldwide 3D channel

[by Robert Briel, Broadband TV News]

Los Angeles based High TV will launch the first international 24/7 3D family channel that features a mix of entertainment, lifestyle and original reality shows in full HD 3D. RRsat Global Communications Network will provide playout and uplink services for the new channel.

Commencing April 4, 2011, High TV 3D will broadcast 450 hours of HD 3D programming, ranging from dramas and comedies to lifestyle and fashion. RRsat will distribute the channel on the Eurobird-9A satellite to Europe and over the MEASAT-3a satellite across Asia Pacific using MPEG-4 compression and DVB-S2.

“RRsat is proud to continue its active involvement in the progression of 3D TV,” said Koby Zontag, senior director of sales and business development at RRsat, in a statement. “We have already established RRsat’s capabilities with live 3D interactive broadcast over fiber between continents and a major European ten-day sporting event broadcast in 3D over satellite. Working alongside HIGHTV, we intend to demonstrate that 3D TV is a valuable format in the genres of entertainment and lifestyles as well.”

“High TV aims to take 3D TV beyond the limited and local audiences it is currently geared towards,” said Gwenael Flatres, head of business development, at High TV. “By utilizing RRsat’s state-of-the-art technological capabilities and wide reach of the RRsat Global Network, we are capable of taking 3D programming to a global market, entering a new chapter in TV history with 24 hours of non-repeating 3D programming, seven days a week.”

Headquartered in LA with offices in Hong Kong, Paris, London and Singapore and supported by investments of over $20 million, High TV 3D will offer more than 450 hours of native 3D programs, travel destinations, cooking shows, animation, drama series, reality shows and Hollywood celebrities.

Read the original post here: http://www.broadbandtvnews.com/2011/03/15/high-tv-to-lauch-worldwide-3d-channel/

 

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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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