News Stories

See The 1906 San Francisco Earthquake In Colour And 3D

[By Adrian Covert, Gizmodo]

The 1906 earthquake that took place in S.F. was epic for the time, leveling countless buildings, igniting fires, and generally causing chaos. It was also responsible for some great photography. But did you know that someone took 3D colour photos of the aftermath?

Fredrick Ives, an inventor who the SF Chronicle says created the halftone process used by newspapers and magazines, is the man responsible for these shots, which were viewed in a box called a Kromgram, which slightly resembled a Viewmaster:

The photos that Ives made were also meant to be seen in 3-D through a viewing device. “Can you imagine how shocking these were?” said Shannon Perich, associate curator of the Smithsonian’s photography history collection.

Though black-and-white pictures of the 1906 disaster are common, the Smithsonian believes Ives’ pictures are the first – and perhaps only – true colour photographs of the wreckage ever made. They have never been published before.

A few colour pictures of the earthquake and fire that followed have occasionally surfaced, but they were hand-tinted prints on black-and-white originals, not true colour photographs.

The Kromgram came out in 1907 and cost $US50 (or $US1000 by today’s standards). However, the Chronicle says that Ives marketed the device terribly and it failed. But hey, at least it spawned some shots that are simultaneously devastating and beautiful. You can see the rest of the collection over at [SF Gate via JoshuaClements].

See the original story here: http://www.gizmodo.com.au/2011/03/see-the-1906-san-francisco-earthquake-in-colour-and-3d/

 

Brabus’ home away from home theater on wheels goes 3D

[dvice.com, no author given]

Having a luxury ride and a driver is great, but just like on a plane, you’re going to need some entertainment to while away those long hours on the road. This high-tech rolling 3D movie theater should do the trick.

This isn’t our first encounter with one of Mercedes-Benz tuner Brabus’ theater palaces on wheels, but now they’ve upped the spec several notches.

The old 32-inch 2D TV is history is out, replaced by a 40-inch 3D model, and fed by a host of sources including a PlayStation 3, Internet connected Mac Mini, and a bevy of iPads and other devices. There’s even a Keurig coffee machine, just in case you start to feel sleepy in the electrically adjustable Maybach style armchairs.

All of this tech would be a waste if the van couldn’t move briskly, so Brabus has fitted their 6.1-liter V-8 that pushes the iBusiness to 60-mph in under six seconds.

Every iBusiness is built to order so it’s hard to quote a price, but let’s just assume it’s one of those “if you have to ask” deals.

 

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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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