News Stories

Dishwasher: Vampire Smile releasing April 6

[by Steve Watts, shacknews.com]

Ska Studios has announced release information for The Dishwasher: Vampire Smile. The indie action game is set to hit the Xbox Live Arcade on April 6 for $10 (800 MS Points).

Vampire Smile is a sequel to 2009’s Dead Samurai, which made the leap from the Indie Games Channel to a full XBLA release. The sequel adds a new campaign that can be played through as The Dishwasher or his sister Yuki, in single-player or co-op modes, along with new weapons, stereoscopic 3D support, and a new game engine.

Attendees of PAX East this weekend will get a chance to play the final version of Vampire Smile, and Ska will be holding raffles to give out pre-release codes.

See the original post here: http://www.shacknews.com/article/67759/dishwasher-vampire-smile-releasing-april

 

Dream Jobs 2011: At Work at ESPN’s Hidden Sports-Tech Paradise

[By WILLIE D. JONES  /  FEBRUARY 2011, from spectrum.ieee.org]

Ricky Langer has landed in the envy-inducing vortex of his passions: ESPN’s tech team

Let’s say you’re an avid sports fan and a pretty fair athlete yourself. If you couldn’t go pro, what would you do for a living? For a self-described tech geek, tinkering with new technologies at the world’s largest man cave—a 40-hectare sports lover’s paradise complete with a miniature American football field for pep rallies and concerts—is about as good as it gets. Sure, Ricky Langer, a senior systems engineer for ESPN, the sports programming giant, used to be awestruck when he saw famous athletes strolling through the halls, but he’s more blasé about it now.

“Every time I walk in this place, sports is all around me,” says Langer. At ESPN’s headquarters in Bristol, Conn., the walls are covered floor to ceiling with commemorative jerseys, helmets, and hockey sticks. In nearly every room and corridor, large flat-panel TVs are tuned to games, highlights, and sports talk. Amid the bustle at this athletics playground, Langer is charged with finding new and better ways to broadcast sports programming across the globe.

Like so many engineers before him, Langer has a love for gadgets that emerged when his parents indulged his propensity for taking things apart and reassembling them. But as an energetic child growing up in northwest Connecticut, he says he can’t remember a time when athletics wasn’t a part of his life as well. “I was the youngest of six kids; I had to pick things up quickly and master a lot of skills to make up for the age difference,” he recalls. He joined a traveling youth hockey team and played baseball, soccer, and basketball as a high school athlete. In college, he narrowed his focus, lettering in Division I baseball while earning an electrical and audio engineering technology degree at the University of Hartford. “Baseball is my life,” the solidly built former college center fielder explains. “When I’m not working or hanging out with my fiancée, I’m playing baseball.”

To Langer, who landed an entry-level technology job at the sports network before graduating in 2004, the work has been a perfect fit. On a typical day, he crosses paths with several recently retired pro ball players who serve as studio analysts, and he gets to keep an eye on the day’s sports events—tuning in to games even as he completes his assignments. “I remember when I started six years ago, the Red Sox and the Yankees were playing a day game. So I pulled up the feed on the monitor I was at and kept on doing my work with the game in the background,” he says. “That was a pretty cool feeling.”

Chuck Pagano, ESPN’s executive vice president of technology, explains that giving workers the liberty to be sports enthusiasts makes for more passionate employees. “Plus, there’s no better way to serve sports fans than to understand what they’re looking for. And Ricky’s definitely a sports fan.”

As an engineer, though, Langer finds the technology just as thrilling: “What makes this job cool is that every morning on my way to work, I’m thinking, ‘What new piece of technology am I working with today?’ ” Langer, who says his group acquires a new project every few months, gets excited when he feels he’s closing in on a design. “It propels you,” he says. “You know there’s an answer out there, and that’s what makes you strive to get it done. That and the fact that I can actually sit in front of a TV anywhere in the world and see the result of my work.”

Pagano, who has been at ESPN since its inception, notes that Langer “really hit a home run” with one recent project. He led a team that designed the master control system that allows ESPN to broadcast games in 3-D with graphics, commercials, and promos. Though Langer modestly describes the assignment as “simple from a design standpoint—a router with a bunch of converters wrapped around it, plus a 3-D switcher that handles the left eye and right eye,” Pagano points out that merging separate images to create a single 3-D picture was really tough to do.

The initial plan for ESPN 3D, first announced a year ago, called for baby steps, says Pagano. Games would be presented in 3-D, but commercials and promotional elements would not. “But at the last minute, we were asked to pull a rabbit out of the hat,” Pagano says. That rabbit was the master control system, which integrates the sports programming with commercial and promotional segments—all in 3-D. No such system existed, so it was up to Langer and another engineer on the project to figure out how to pull it off.

Unlike with audio-video synchronization, where a little lag in the audio is hardly noticeable, viewers can pick up on even a single frame’s difference between the left and right eye in a 3-D signal. And even when the eyes are timed correctly, the signals can end up inverted, switching the foreground and the background. In that case, the viewer perceives what ought to be the foreground as appearing behind the intended background, which is out of focus.

As Langer and his team ran sample video feeds on the equipment in the 3-D master control room, they figured out an easy way to detect whether a weirdly displayed image was the result of inversion. “If we turned our 3-D glasses upside down so the lenses were switched and the images looked perfect, then that was the issue,” he reports. In just 40 days, Langer and his colleagues readied the master control for the launch of ESPN’s 3-D channel with a broadcast of the 2010 FIFA World Cup. Though Langer had hoped to get his own 3-D TV set to watch the results, “my fiancée wouldn’t let me,” he says.

With the high-profile 3-D project behind him, Langer is enjoying a break from the spotlight. He is currently designing an IP network that will allow anyone on the ESPN campus to easily access footage constantly being brought in from game sites. Currently, that footage is stored on tapes and other media and must be carried by hand from one part of the campus to another. When he’s not working on that project, he’s upgrading the older studios on campus for high definition broadcasting.

Langer’s eyes light up when he describes his work. That’s because for the most part, the former standout athlete sees his role as an engineer as akin to a referee’s: He’s at the top of his game when the audience doesn’t notice his input.

This article originally appeared in print as “Sports Knight.”

See the original post here: http://spectrum.ieee.org/geek-life/profiles/dream-job-ricky-langer

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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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