News Stories

‘Lucrezia Borgia’ becomes first live opera broadcast in 3D

Donizetti’s opera, described as a ‘dark’ and ‘psychologically profound’, based on Victor Hugo’s tale of incest, murder and rape in the Renaissance Italian Borgia family is directed by Mike Figgis. The stage production has been running since Jan 31 at London’s Coliseum theatre, starring Claire Rutter as Lucrezia Borgia and Michael Fabbiano as Gennaro.

Today marks the day in which they broadcast the dramatic opera through way of a ‘quadcast’ – being the first of its kind, showing it through four media types at the same time. It will be shown on Sky 3D, broadcast live on the Sky Arts 2 channel in high definition and into fifteen select cinemas in 3D across the UK, including London Piccadilly’s Apollo cinema and Odeon cinema’s in Bath, Brighton and Manchester. It will also be relayed in 2D to other cinemas.

Extra features of seeing the opera broadcast in this way will give the audience the opportunity to see a special insider’s edition which includes cast interviews and the Oscar nominated director Figgis at work.

The opera itself has been highly rated, as English newspaper The Guardian describes Rutter and Fabiano as “fabulous”, with Rutter in her portrayal of Lucrezia “hurling out coloratura like spattered drops of venom,” and Fabiano as Gennaro, “holding an exquisite sense of line”.

When interviewed by Reuters on his opinion about the opera being broadcast live on television and in cinemas, Fabiano mentioned that “everyone when they watch television wants to see moments when people are on the edge and how they handle it,” further adding that “that’s live theatre, that’s what these reality television shows are all about too, and so I think it’s great.”

Conducted by Paul Daniel and starring Claire Rutter, Michael Fabiano, Alastair Miles and Elizabeth DeShong, the show goes live at 19.30GMT in London.

See the original story here; http://www.buenosairesherald.com/article/59760/lucrezia-borgia-becomes-first-live-opera-broadcast-in-3d

ESPN will provide 10 hours of 3D Masters coverage over five days

ESPN’s television coverage of the 2011 Masters Tournament at Augusta National Golf Club will include 10 hours of programming in 3D on the ESPN 3D network, with two hours of coverage each day during the tournament’s four rounds.

ESPN 3D’s live Masters telecasts begin with the Par 3 Contest on Wednesday, April 6, from 3-5 p.m. Eastern Time. Stereoscopic coverage of the action will continue on Thursday and Friday from 5:30-7:30 p.m. and on Saturday and Sunday’s telecasts between 5-7 p.m.

Last April, the Masters became the first major sporting event produced and broadcast in 3D live internationally on television and the Internet.

In addition to coverage on ESPN 3D, ESPN’s multiplatform coverage of the Masters will include four and a half hours per day of first and second-round play on ESPN, ESPN HD and ESPN Deportes on Thursday and Friday. It will also air SportsCenter at the Masters and live coverage of the Par 3 Contest on Wednesday, extensive coverage on ESPN.com and a special 43-hour Masters tribute on ESPN Classic.

See the original post here: http://www.broadcastingcable.com/article/464371-ESPN_To_Air_3D_Masters_Coverage.php

< PREVIOUS ARTICLES NEXT ARTICLES >

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.

Oops, something went wrong.