News Stories

Toshiba glasses-free: more info revealed

3.8.2011

[CNET.news, by Philip Wong]

We’ve just received some juicy news from Toshiba regarding the company’s latest plan for its glasses-free 3D TVs. According to Sharon Soon, senior sales and marketing assistant from the company’s Asia office, Toshiba is considering a simultaneous launch in the U.S., Europe, and other countries.

These glasses-free 3D TVs will probably come in screen sizes of more than 40 inches and are tentatively due out in the second half of this year. However, the actual launch schedule is still pending confirmation subjected to market developments.

Toshiba is currently offering smaller 12- and 20-inch glasses-free 3D TVs only in Japan for $1,500 and $2,900, respectively. It’s not hard to estimate the premium on a 40-incher using these prices as benchmarks, though the Japanese TV maker may be able to keep costs down by mass-producing these panels.

See the original post here: http://news.cnet.com/8301-17938_105-20040266-1.html?tag=mncol;1n

Oh, I say! Wimbledon finals action to be shown in 3D cinemas across the world

3.7.2011

 

[London Evening Standard, by Mark Prigg]

Wimbledon is set to be broadcast in 3D for the first time this year, it has been revealed.

The All England Lawn Tennis Club is to show key matches, including both main finals, in the format at cinemas across the world. Filmed by Sony and the BBC, the club is also in discussion with broadcasters to show matches in 3D on sitting room TVs.

The men’s semi-finals, final and women’s final will be recorded using the technology’s cameras for the first time. Previous sporting events filmed in 3D include the Ryder Cup, the football World Cup and the Barclays ATP World Tour at the O2. Both Virgin Media and Sky offer 3D content, although only Sky offers a 3D channel.

Ian Ritchie, All England chief executive, said Wimbledon was renowned for its heritage and tradition but also embraced innovation. “We are delighted that our 3D partnership with Sony will not only guarantee we are at the cutting edge of live sporting television but also deliver a compelling new viewing experience for our global audiences, especially among our younger supporters,” he said.

Fujio Nishida, president of Sony Europe said: “Watching tennis in High Definition 3D is a stunning experience, bringing the speed of the action and the emotions of the occasion to life. It is as close to the atmosphere and excitement of Centre Court as actually being there.

“With the Live 3D Wimbledon experience available in 3D cinemas across the world, many more people will be able to enjoy one of the world’s most iconic sporting events as though they were actually at Wimbledon.”

See the original post here: http://www.thisislondon.co.uk/standard/article-23929475-oh-i-say-wimbledon-finals-action-to-be-shown-in-3d-cinemas-across-the-world.do

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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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