News Stories

The International 3D Society Rewards Mistika-Related Projects

2.29.2012

[Press Release]

SGO have revealed that four outstanding Mistika-related projects have received awards from the International 3D Society this week in Hollywood.

The Animated 3D Feature Award went to, The Adventures of Tintin, Paramount Pictures which was post produced using Mistika at Park Road Post in New Zealand;

A special “Jury Prize” for Excellence went to, PINA, Neue Road Films which was post produced using Mistika by Christian Troeger and Sven Heck, based in Germany. (The Stereographer was cinematographer Alain Derobe. Christian Troeger is currently working at ARRI using Mistika.) PINA has also been nominated for an Academy Award; 

The Short 3D Motion Picture/Narrative award went to, The Foundling, RSA Films which was post produced by David Cox using Mistika at The Framestore in London; 

Meanwhile The Electronic Broadcast Media (Television) Award – Live Sports went to, Champions League Final, BSkyB which was post produced using Mistika’s technology in the UK at British Sky Broadcasting.

Miguel Angel Doncel, CEO of SGO said: “We are very proud to be developing award-winning DI and Stereo 3D technology in the industry, which plays a key role by helping the industry’s top professionals to deliver the best results, in a very demanding and competitive environment. Congratulations to all our customers who have won these awards for their outstanding projects.”

The International 3D Society was founded to advance the art and technologies of stereoscopic 3D content and its professional innovators. The organisation plans to host educational opportunities for showcasing work, recognising achievement and advancing member growth. The Society is open to individuals and organisations active in moving 3D media to an exciting new era of creative achievement and consumer support. 

To find out more about the awards and the society, please visit: 

www.international3dsociety.com/International_3D_Society/AWARDS_2A.html

See the original post here: http://www.4rfv.co.uk/industrynews.asp?id=140668

PRESIDENT OBAMA IS BECOMING QUITE THE 3D FAN

2.29.2012

[3DTV.com]

More recently, the President also reportedly had the film ‘Up’  in 3D screened there.

The White House is pretty tight lipped about what tech is in the White House Theater, but clearly 3D projection is now part of the equipment.

The history of the theater is pretty interesting. The theater was converted from a cloakroom in 1942 during the construction of the east wing. It overlooks the sculpture garden established by Hillary Clinton, and for years had white curtains with a red floral design. In 2004 it was converted to the current bright red color. The first film shown at the White House was ‘Birth of A Nation’ in 1915, but there was no formal theater then.

President Eisenhower loved westerns, and screened more than 200 films during his time in office. A favorite was ‘High Noon’.

President Kennedy loved historical films, and was particularly fond of ‘El Cid’. Before the President left for his fateful appointment in Dallas in 1963, he watched Charlton Heston in ‘55 Days at Peking’.

President Reagan loved ‘The Sound of Music’, while President Clinton was a fan of ‘Fight Club’ and ‘American Beauty’. 

As far as I can tell the first 3D screenings have been during the Obama administration. While there was both anaglyphic 3D and the polarized variety available beginning in the 60’s I can’t find any evidence that 3D films were shown at the White House in any format.

Read the full story here: http://www.3dtv.com/news/President-Obama-is-becoming-quite-the-3D-fan

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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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