News Stories

Multi-cam Hyper 3D Video of Fireworks

[Excerpt]

Four video cameras were used to shoot hyper stereoscopic video of Kobe Port Fireworks Display held on 6th August 2011, twin GH13 and twin GH2 with ultra-wide(18mm) for whole view and standard(50mm) lenses for the close-ups.

Filming very far subjects in 3D means you have to use a very large stereo base, a technique called hyperstereoscopy. In the case of this fireworks shot, the distance between cameras was 18 meters (59 feet).

The author, Inoue K3D, prefer DSLR videos for the fireworks shooting because of the low noise and color reproducibility, coming from large sensor and lenses. The video was edited by Inoue on Premiere CS5.5 as a stereoscopic multi-cam stream.

See the video here Kobe Fireworks 3D video and other videos by Inoue K3D here YouTube .

Read the full story here: http://stereoscopynews.com/hotnews/3d-movies/arthouse-a-amateur/1766–hyperstereoscopic-3d-video-of-the-kobe-fireworks.html

TV chiefs quietly mothball 3D plans (Australia)

[excerpt]

Free-to-air channels appear to have abandoned 3D technology even though thousands of Australians splashed out more than $361 million on 3D TVs following successful trials of the technology last year.

Broadcasting groups have confirmed 3D TV transmitters have now been removed from transmission towers in Australia’s capital cities.

The Australian Communications and Media Authority has also received no further applications for 3D TV trials, even though its transmission channel would remain available until December.

Fusion Strategy media analyst Steve Allen said the lack of action could relegate 3D TV technology to another passing “fad”, at least for the time being.

At present, 3D TV owners can watch 3D movies on Blu-ray discs and through pay-TV provider Foxtel.

Foxtel recently aired 3D footage of the X Games, but a spokesman confirmed it had no plans to broadcast the Rugby World Cup in 3D.  …

Read the full story here: http://www.couriermail.com.au/news/tv-chiefs-quietly-mothball-3d-plans/story-e6freon6-1226111905469

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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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