News Stories

Kodak One Step Closer to Bringing Laser Cinema Projection Technology to Theaters

2.25.2011

Kodak has received FDA approval on a variance that it believes is an important step in bringing to theaters its developing laser cinema projection technology.

A question is what potential impact this technology might have on the digital cinema rollout, which is already well under way with more than 22,000 digital projectors now installed worldwide. In related news, Barco on Thursday began shipping its new DLP Cinema 4K digital cinema projectors to Cinemark’s theaters.

Kodak believes that its technology could have an impact on 3D while reducing projector ownership costs.

“We expect that the projectors based on our technology will be very cost effective compared to today’s digital cinema projectors,” said Les Moore, Kodak’s chief operating officer for digital cinema, who claimed that “exhibitors can expect to replace a Xenon bulb every 500-1,000 hours, whereas we expect these laser sources to last over 30,000 hours before they need to be replaced.”

Screen brightness is common concern in 3D, and Moore also contends that laser projection offers more brightness than projection technologies commonly used today.

The FDA variance allows for the sale of the laser projection technology to cinema exhibitors without the need for individual site or show operator variances. Additionally, Moore noted: “The FDA variance serves as a template to be followed by manufacturers that we license to incorporate this new laser technology.”

Kodak has an eye toward market implementation within the next two years.

See the original post here: http://www.hollywoodreporter.com/news/kodak-one-step-closer-bringing-161247

ESPN 3D to Televise the 2011 NBA Finals

2.25.2011


NBA Finals Televised for First Time in 3D

ESPN 3D, in its first year of distribution, will expand its NBA offerings to include The Finals – the pinnacle of the NBA season – this June, marking the first time the championship-crowning event will be presented in 3D. ESPN 3D televised the first NBA game in 3D when the Miami Heat visited the New York Knicks on December 17, 2010. Since December, ESPN 3D has shown six NBA games in addition to other programming.

ESPN 3D’s upcoming NBA schedule (schedule subject to change):
Date Time (ET) Game
Fri, Feb 25 8 p.m. Oklahoma City at Orlando
Fri, Mar 4 7 p.m. Chicago at Orlando
Wed, Mar 16 8 p.m. Oklahoma City at Miami
Fri, Apr 1 8 p.m. Boston at Atlanta
TBD TBD NBA Playoffs (First Round) – Game 1
TBD TBD NBA Playoffs (First Round) – Game 4
TBD TBD NBA Playoffs (Conference Semifinals) – Game 2
TBD TBD Western Conference Finals – Game 1
TBD TBD Western Conference Finals – Game 2
TBD TBD Western Conference Finals – Game 4
Thurs, Jun 2 9 p.m. Finals (Game 1)
Sun, Jun 5 8 p.m. Finals (Game 2)
Tues, Jun 7 9 p.m. Finals (Game 3)
Thurs, Jun 9 9 p.m. Finals (Game 4)
Sun, Jun 12 8 p.m. Finals (Game 5)
Tues, Jun 14 9 p.m. Finals (Game 6)
Thurs, Jun 16 9 p.m. Finals (Game 7)

Beginning Monday, Feb. 14, ESPN 3D began showing 3D content 24-hours a day. In its first year, ESPN 3D will telecast more than 100 live events.

See the press release here: http://www.engadget.com/2011/02/24/espn-3d-adds-the-nba-finals-to-its-broadcast-schedule/

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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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