News Stories

‘The Amazing Spider-Man’ Shooting in 3D Using 3ality Digital Systems

3.10.2011

[By Kellvin Chavez, www.latinoreview.com]

3ality Digital, world leader in advanced technologies to empower creative digital stereoscopic 3D acquisition, has been chosen to supply its systems for the highly anticipated film THE AMAZING SPIDER-MAN, which is now in production from Columbia Pictures and will be released on July 3, 2012. Directed by Marc Webb, the film is using 3ality Digital’s new TS-5 wireless and handheld beamsplitter mirror rig.

 

“Our systems are designed to enable directors shooting in S3D creative freedom and pixel-perfect accuracy of images, but with the same ease as 2D filming. It is fantastic that 3ality Digital’s rigs are being used for this year’s biggest movie productions.”

 

Award-winning cinematographer John Schwartzman, the film’s director of photography, chose the TS-5 because of its small size and the unrivalled control it gives over the stereoscopic 3D (S3D) image. Schwartzman and the production team held a series of tests using the TS-5 and found it could shoot in 3D but perform at the same speed as in 2D.

 

Schwartzman said:

 

“We tested virtually every product on the market and chose 3ality Digital because we were impressed by the compact size of the TS-5. You don’t get the unwanted shadowing effects during shots which sometimes appear using other 3D rigs, and the lens changes only take a few minutes. We wanted a rig that would not only deliver the best quality and performance, but also one that wouldn’t delay the production, so we have all the benefits of a S3D picture and we’re shooting to a 2D schedule.”

 

The latest version of 3ality Digital’s beamsplitter rigs achieves optimum performance without the need for the substantial construction normally associated with S3D facilities. The TS-5 is a much lighter and smaller rig, which operates with a high degree of precision and control. A key benefit for film-makers shooting stereo 3D is its versatility. It can be used for super fast set-ups with lightweight tripods, as well as shoulder mounts for handheld or Steadicam 3D shooting. Unlike other S3D rigs it doesn’t lose coverage and also, because it’s a compact rig, it maintains the actors’ eyeline.

 

THE AMAZING SPIDER-MAN is the first feature film in production to utilize 3ality Digital’s intelligent, integrated systems.

 

Steve Schklair, CEO and founder of 3ality Digital, said:

 

“Our systems are designed to enable directors shooting in S3D creative freedom and pixel-perfect accuracy of images, but with the same ease as 2D filming. It is fantastic that 3ality Digital’s rigs are being used for this year’s biggest movie productions.”

 

Schklair added:

 

“Marc Webb is set to take the Spider-Man movies in a new direction and shooting the picture in S3D will certainly add an exciting element. We’re looking forward to seeing the finished project as I’m sure millions of fans are around the world.”

 

The Amazing Spider-Man is back on the big screen, for the first time in 3D, on July 3, 2012. The film stars Andrew Garfield, Emma Stone, Rhys Ifans, Denis Leary, Campbell Scott, Irrfan Khan, Martin Sheen, and Sally Field. The film is directed by Marc Webb from a screenplay by James Vanderbilt, Alvin Sargent and Steve Kloves, based on the Marvel Comic Book by Stan Lee and Steve Ditko. Laura Ziskin, Avi Arad, and Matt Tolmach are producing the Marvel Entertainment production for Columbia Pictures. The executive producers are Stan Lee, Kevin Feige, and Michael Grillo.

See the original post here: http://www.latinoreview.com/news/-the-amazing-spider-man-shooting-in-3d-using-3ality-digital-systems-12870

Viasat to screen two 3D matches in one night

3.10.2011

[by Julian Clover, broadbandtvnews.com]

It is often said there is a dearth of available 3D content, but Viasat has announced plans to screen two football matches in 3D on the same night.

The Nordic platform is picking up on coverage of Manchester United v Marseille and Bayern München v Inter. While the Manchester United game will be carried live, Bayern München will be taped delayed and follow immediately afterwards. The two matches will also be shown live by BSkyB and Sky Deutschland.

Viasat will show the matches to subscribers in Sweden, Norway and Denmark next Tuesday, March 15, at 20.45 CET.

The dual broadcast will be the sixth time Viasat has used the stereoscopic format following earlier coverage of the English Premier League, National Hockey League and the PGA golf tour.

The 3D satellite broadcasts are made in co-operation with SES-Astra. Viasat 3D is made in partnership with Samsung.

See the original post here: http://www.broadbandtvnews.com/2011/03/10/viasat-to-screen-two-3d-matches-in-one-night/

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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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