News Stories

Kansas City Star quotes David in story about Steve Jobs and the iPad

“Steve has forever been the sort of countercultural guy,” said David Wertheimer, who worked at Apple and NeXT and is now CEO at the Entertainment Technology Center at the University of Southern California.

“Apple from the earliest days made a decision to court the creative community,” he said. “There’s something really powerful about talking to creative people in a creative language. You capture a group of people who have a great way to express themselves, and an active imagination. … That helped create this whole mystique. Steve embodied that.”

Jobs is “hugely opinionated, which helps him create big ideas,” Wertheimer said.

“He’s not quick to let go of ideas that he creates. If you disagree with him, you have to work very hard to get him to come around to your point of view. He can be very difficult. Incredibly smart and keen sense of what consumers want and will respond to.”

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Insight Art Institute quotes Bryan about possible Apple Tablet

Even so, all eyes are on the proposed Apple Tablet because it could be an anytime/anywhere content device, says Bryan Gonzalez, a technical project specialist at the Entertainment Technology Center at the University of Southern California.

“It’s big enough to provide a solid entertainment experience, but small enough to be carried around easily,” Gonzalez says. “Much depends on the execution, but given the Net-friendliness of the Kindle and the interface innovation of the iPhone, it’s likely to be something special.”

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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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