News Stories

Kid Icarus: Uprising (Review for Game Dev. Conf. 2011)

(Phil Lelyveld comment: note the second paragraph review of the 3D experience.)

For the first time in almost 25 years, Kid Icarus finally returns.

First things first. 3D display on the 3DS made a believer out of me. I had to tweak the stereoscopic vision slider only slightly before getting a wonderful result. Literally full of wonder. I don’t care who I have to stab; I’m getting one of these. Several of my misconceptions about 3D were quickly laid to rest. I didn’t get a headache. I wasn’t confused about what to look at. This new technology is easily accessible in a way that the use of stereoscopic glasses isn’t.

Read the FULL review here: http://gamrreview.vgchartz.com/preview/45683/kid-icarus-uprising/84409/

Trick Art Exhibition (Taiwan)

A man takes a picture with a painting during an exhibition by the Trick Art Museum of Japan at the National Taiwan Science Education Center in Taipei March 4, 2011. The paintings in the exhibition are supposed to induce a 3D optical illusion when a subject takes a picture with it. REUTERS/Nicky Loh (TAIWAN – Tags: ENTERTAINMENT SOCIETY)

Trick Art Exhibition
February 25st- August 31st, 2011
What is Trick Art?
Trick Art is characterized by using mistaken or optical illusion as art theme. The artists use bright colors and perspective to create shaking and three-dimensional effect on flat object, in order to give a percept of visual shock. (Victor Vasarely, Izzo-22,1969)
There are three main types of visual illusions: the structure of objects itself cause geometry illusions, the physiological illusions that are the effects on eyes and brain, and psychology reasons make cognitive illusions. Geometry illusion is especially the skill that most artists do, and it is also well-known by public.
Trick Art originated from Japan in 1980s, it broke up the concept of two- dimensional by using the three-dimensional, it made viewers confused and brought optical illusions. Artists often use drawing skills such as perspective, shadow and cover-up, and combine the latest technology with light refraction, and other creative ideas to make the objects look different from varied angles. By changing the visual cognition and psychology perception, the conflict between reality and illusion will express a kind of art form which includes perspective, design, geometry and psychology.
Respecting the period of Renaissance, the development of “studio” which aimed to discuss and learn from each other brought out lots of artists. Kenju Kazumune (1940~1997) had a great foresight of Trick Art, he set up the S.D. company in 1987 with the essence of “studio” and his passion for achieving art popularization. After 20 years, Kenju Kazumune now is the leader of Japan Trick Art, and his S.D. Company is a big success. There are more than 20 million people around the world have had the chances to enjoy Japan Trick Art so far.
Trick Art redefined the impression of art, it not only filled the new vitality to art exhibitions but also crossed over the fence between art, closer to the public. Japan pioneer of Trick Art, Kenju Kazumune said, “ Art gallery should not be limited, it ought to be a place that can let people be familiar with, no matter who appreciates art or not, adults or even kids.”
In order to encourage people to attend more art activities, and shorten the distance between art and public, S.D. company began to promote Trick Art exhibitions and set up Trick Art galleries since 1990s. From Okinawa to Hokkaido, there were 160 tour exhibition opened all over Japan. Oversea tours included Singapore, Hong Kong, Korea and Las Vegas, numerous of audiences enjoyed the art works and gave a high appreciation to Trick Art. Furthermore, the Trick Art exhibition received numerous awards, including International Art and Culture Award, World Art and Culture Peace Award by Japanese Cultural Association. Trick Art was also granted a title as the special member of world-class museum: Uffizi Gallery in Italy; and The World Peace Foundation even awarded World Peace Prize of Art. In 2004, Ministry of Foreign Affairs in Japan has introduced this exhibition to 180 countries around the world.
From the National Taiwan Science Education Center Website (no author given) here: http://portal.ntsec.gov.tw/en/m1.aspx?sNo=0003165&ex=%20&ic=
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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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