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Locked in a 3D war, LG and Samsung battle to be king of flat-screen technology

[By Bryan Kay, Christian Science Monitor]

The world’s No. 1 and No. 2 flat-screen TV makers share prestige as lynchpins of the South Korean economy. But an increasingly bitter rivalry between Samsung Electronics and the LG Group has descended into mud-slinging amid a bragging contest over which company has the best 3D technology.

Their war of words took a nasty turn this week – playing out in the national press as officials traded barbs that some saw as childish.

Yet with analysts projecting explosive growth in the emerging 3D TV market over the next few years, both companies see this as a crucial battlefield, and the current dispute could be indicative for the future. The shadows of Japanese giants Sony and Panasonic, too, loom large in the 3D marketplace.

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On Tuesday, a “high-ranking” Samsung official reportedly called LG engineers “stupid,” saying claims over the merits of their technology were “unacceptable.” In response, LG said Samsung had shown it was “losing it” by opting to volley abusive remarks at a competitor.

And Thursday, LG staged a press conference to announce it was in talks with Sony about providing its 3D TV panels to the Japanese maker – seen as a way for LG to court allies in the growing 3D war.

At the root of the fighting is a desire to determine who possesses the best technology to enhance the viewing experience of the nascent 3D TV sets. LG says its film patterned retarder (FPR) technology is an advance on the industry standard shutter glass technology, both of which require glasses. LG says FPR eliminates blurry images, and that its glasses are lighter than previous issues. Samsung says FPR is outdated.

The warring kicked off in January at a trade show in Las Vegas. In February, the sparring took another turn when LG took at swipe by telling journalists that Samsung’s 3D technology was a generation behind. Samsung responded in kind, and ran an ad campaign saying the difference in technology was like “night and day,” reported Reuters.

Why so nasty? The stakes are high.

While the 3D TV market is fledgling – an estimate puts its share of the flat-screen market at 2 percent last year – industry observers expect the high-tech units to claim more than 40 percent of all flat-screen sales within about three years.

Rivals Samsung and LG are known to privately contempt for one another, though rarely does their distaste play out in public. “Even though it can be ugly at times,” said Michael Breen, chairman of Seoul-based public relations firm Insight Communications Consultants, “it does not usually break out in public in that way.”

The animosity, he added, may be driven by LG’s historical position as a “follower” to Samsung, which is the forerunner in the electronics sector and South Korea’s No. 1 conglomerate.

See the original post here: http://www.csmonitor.com/World/Global-News/2011/0310/Locked-in-a-3D-war-LG-and-Samsung-battle-to-be-king-of-flat-screen-technology

 

Bootsy Collins in 3D (sort of)

Here’s to the Drive-By Truckers, loud rock and roll and beer in plastic cups.

“Rock and roll means well/but it can’t help telling young boys lies.”

Hey, Funkateers, surely you’re awareBootsy Collins has a new record coming out and that I stole Funkateers from him. Ahem. Bootsy, left, does indeed have a new record coming out. It’s called the Funk Capitol of the World. It’s a concept record about Ames, Iowa.

It’s so cool its album cover has its own press release:

“While supplies last, CDs of Bootsy Collins’ new album ‘Tha Funk Capital of the World’ (out 4/26) will be available with eye-popping holographic 3D album art designed by Roy Koch, Mascot Records’ in-house artist. Bootsy says, ‘The album cover art work breathes like it is a living being/city… it’s alive.’ “

Just like Ames, Iowa.

Watch the cover of Funk Capitol breathe. [ http://www.shorefire.com/media/Bootsy-Cover_Animated_20110308_152751.gif ]

See the original post here: http://www.oregonlive.com/music/index.ssf/2011/03/music_notes_bootsy_collins_in.html

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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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