News Stories

MakieLab secures $1.4m in funding

‘Smart toy’ outfit secures cash, with contributions from games and anime angels

MakieLab has secured £1.4 million in funding for its user-designed, 3D-printed action doll business model.

The company lets users design digital dolls via its website. The designs are then made physical with 3D printing, and sent to customers who pay for the dolls.

Currently in open alpha, the service will eventually expand to included dolls with various new features, and link the vitrtual world where the Makies are created with the physical product through social and gameplay mechanics.

See the full story here: http://www.develop-online.net/news/41073/MakieLab-secures-14m-in-funding

ETC Whitepaper – The Current State of the Consumer 3D Experience

The ETC has published a status report: the current state of the Consumer 3D Experience.  The full report can be found here. The Introduction and Table of Contents are below.

Introduction

The introduction of non-anaglyph, digital S3D as a consumer experience started with Disney’s Chicken Little in 2005.  But the 2009 theatrical release of Avatar, with James Cameron’s strong marketing of the 3D aspect of the feature, was the benchmark event that defined consumer expectations for a 3D experience.  Mr. Cameron and company also laid the groundwork for the rapid decent into the trough of disillusionment by telegraphing what consumers should expect before those expectations could be adequately met.  At that moment the production, theatrical exhibition, distribution, and consumer electronics technologies infrastructures were still being developed, and content creation was just ramping up.

The ETC’s Consumer 3D Experience Lab and Program has ridden the heart of the Hype Cycle; from a few years after digital stereoscopic 3D’s (S3D’s) launch in cinemas through the peak of inflated expectations, down to the trough of disillusionment, and now upward along the slope of enlightenment.  We are approaching, but not yet at, the plateau of productivity for 3D.

During this period, the ETC Consumer 3D Experience Lab gave over 170 tours and presentations to groups visiting the Lab (see Appendix 1), participated in over 21 conferences worldwide (see Appendix 2), gave a great many print, TV, radio, and podcast interviews.  Since the 3D Lab transitioned last year from a focus on demonstrations and presentations to one of news gathering, it has distributed over 2,700 news stories related to 3D to the ETC membership.

The Current State of the Consumer 3D Experience

By Philip Lelyveld

Program Manager, Consumer 3D Experience Lab / Program

USC Entertainment Technology Center

June 7, 2012

———————————————

Table of Contents

Introduction            3

Theatrical 3D            4

3D TVs            7

3D Cameras, Laptops, Phones, Tablets            12

3D Gaming            13

Head Mounted Displays            15

Theme Parks            15

Other Markets for 3D            16

Conclusion: Looking Backward, Looking Forward            18

Appendix 1 – 3D Lab Presentation / Tour Log            20

Appendix 2 – 3D Lab Event Speaker / Moderator Log            21

Appendix 3 – 3D Audio            22

Appendix 4 – 3D Printers            24

 

[The full link to the report is: http://philiplelyveld.com/wordpress/wp-content/uploads/2010/11/120604-3D-BoD-Write-up.pdf Due to size limitations it could not be posted on www.etcenter.org.]

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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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