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LG Booth Tour: Part 2 (Displays, 3D, Projectors)

1.9.2009

Welcome back to LG. Let’s take a closer look at some displays…

LG has several 3D displays in their booth.  According to a senior LG rep, the LG 3D TVs will have built-in conversion engines that will handle different left-eye, right-eye multiplexing formats including top-bottom, side-by-side, and checkerboard.

We saw a 55-inch LCD XPol, passive-glasses panel, 1920×1080, that accepts top/bottom, side-by-side, and frame-by-frame. Looks great. At 450 nits, actually feels brighter than other currently available displays.

lg_xpol

We also saw a 60-inch plasma, active shutter glasses, 1920×1080, that accepts top/bottom, side-by-side, and frame-by-frame. Looks nice, but seems like it could be brighter.

The crowd seemed to favor the polarized display compared to Samsung’s private viewing we did yesterday, in which the opposite was true. All depends on the implementation!

They were also showing one autostereoscopic 42-inch (VGA resolution) – aimed at digital signage.  As one viewer remarked, “It’s not bad when you’re in the sweet spot.” And a related, triple-view display with 3 lenticular views.

lg_vga

Finally – for 3D anyway – LG had a “3D Theater” set-up showing polarized content projected through two HD projectors (stacked vertically). 150-inch screen, 1200 lumens in 3D. Nice for sizzle at the show, but probably not a viable product.

There were lots of super small projectors, including a DLP Pico projector built into a cell phone. And an AMOLED concept under 10mm which is reminiscent of last year’s Sony OLED.

amoled

And, to conclude the LG tour… one item headed in the right direction in our quest to see content the way the filmmakers intended – auto calibrating displays (“Picture Wizard”), based on ambient conditions in the room.

wizard

Where to see it:

  • Central 8214

LG Booth Tour: Part 1 (Mobile TV, Blu-Ray, Dare)

1.9.2009

One thing is for sure – this ain’t your father’s Lucky Goldstar.

As we reported from press conference day, LG is a real force to be reckoned with, and they’re giving the other players a real run for the money on design, functionality, and price.  It was very apparent as we walked through their booth.

As has been a theme with LG in years past, they continue to lead on showing mobile TV on a variety of phone devices, showing MediaFlo (on GSM, CDMA, etc.) and ATSC Mobile DTV.

lg_mobiltv

LG’s definitely a leading proponent of the Connected Home (a major theme in this year’s show).  Their booth drives that home visually…

LG is showcasing plasma and LCD broadband TVs plus wireless HD, broadband TV

Plasma and LCD broadband TVs plus wireless HD, broadband TV

Building on the success of its BD300 Network Blu-ray player that streams Netflix, LG has introduced two new Network BD players and three Network BD home theater systems with expanded content options and wireless connectivity.

And proving that this ain’t your father’s Lucky Goldstar, they even have B&O-esque designs for DVD players.

goldstar

LG was awarded a CES Best of Innovations Award in the mobile handset category for its touch screen phone, the LG Dare – while booth attendees also gravitated to the LG-GD910, LG’s wristwatch-style 3G phone.

lgwatch5

Check back for Part 2 of the LG booth tour where we take a closer look at home theater solutions.

Where to see it:

  • Central 8214

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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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