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Battle: Los Angeles (game)

[PRESS RELEASE PROVIDED BY GAMES PRESS]

Konami Digital Entertainment, Inc. and Saber Interactive today released Battle: Los Angeles for download on Xbox LIVE® Arcade in conjunction with the release of the Columbia Pictures feature film. The game will also be available on Windows PC download via Steam®, Direct2Drive, and OnLive®, and will be released later this month on PlayStation®Network on March 22 nd. Players will have the opportunity to relive the thrill of the movie as they assume the role of Corporal Lee Imlay and fight alongside characters from the film and defend the city of Los Angeles from attacks from unknown forces. Xbox 360™ players will also have the opportunity to play the game in 3D using select 3D TVs that support stereoscopic 3D display.*

Read the full story here: http://www.gamesindustry.biz/articles/battle–los-angeles-defend-la-now-on-the-xbox-360-and-pc

Behind the Scenes of ESPN3D

[By Robbie Gillies for The Juice]

Is 3D TV worth it? I guess that depends.

Do you have $1,500 of expendable cash and feel the need to be on the cutting edge of technology?

Currently there just isn’t that much content available for consumers that buy 3D TV but if you’re a sports junkie it might be worth considering. ESPN, the Worldwide Leader in Sports, is also the worldwide leader in sports technology, and they’re getting out in front of the 3D curve.

I was able to attend the Big East tournament, check out the process of producing a live event in 3D and interview lead producer of ESPN3D, Josh Hoffman.

The biggest problem facing the 3D sports broadcast has to do with the technology. If you’ve ever seen a 3D broadcast then you’ve seen a 3D image that just didn’t quite look right.

“When you’re working an HD show, if the camera shot isn’t just right, it’s still pretty good,” Hoffman said. “In 3D, either things are perfect or bad. There is a much smaller margin of error.”

Sometimes it’s as if the image isn’t completely aligned and appears a bit blurred.

But the technology and production has come a long way and that’s in part due to how they trained to produce for 3D. After heading out to Los Angeles to meet with the Pace, the leader in 3D technology, and studying diagrams on how the technology works, the ESPN crew headed back to Bristol to put their knowledge into action.

“We brought in our trucks in and set up eight cameras on a football field in Connecticut and brought in a semi-pro football team for 2 days and just had them run plays and looked at different ways to cover it,” Hoffman said.

Through this exercise they learned what angles worked and didn’t and what made the best use out of 3D. They then implemented these lessons in the fall during the college football season and continue to set the blueprint for how to broadcast in the cutting edge format.

“It needs to be both different and a better experience than HD,” Hoffman said. “But it also needs to deliver the content and all the information and everything about the game.”

It’s a balancing act that they are still working on. Sports viewers are used to certain angles and the game itself is first and foremost. The 3D technology is meant to enhance the experience, not completely change it.

With any sort of new technology, there are bound to be some logistical issues. Obviously, HD broadcasts aren’t going anywhere in the near future and that means ESPN must set up both HD and 3D cameras.

That can prove to be difficult in arenas not built for a second setup.

“A lot of the places we’d like to have cameras are places that would block seats,” Hoffman said. “That’s one of the limiting factors is how do you not block people in the house but find places that make sense for us.”

There is one benefit for those who adopt to the technology early.

Since 3D TV is in its infancy, so is advertising in the new format. That means the broadcasts have less commercials than that of HD meaning more content for those few on the cutting edge of technology.

Personally, I plan on waiting until the price point drops and more importantly, more content becomes available.

But just like HDTV, sports will pave the way for 3D and with ESPN behind the new technology, it’s only a matter of time before most living rooms in the country have a few pairs of 3D glasses laying around.

See the original story here: http://sujuiceonline.com/2011/03/11/espn-3d-syracuse-orange/

 

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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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