News Stories

3net Begins Production on 3D Civil War Series

[by Carolyn Giardina, The Hollywood Reporter]

Stereoscopic period stills help create “a new way to do history programming,” Tom Cosgrove, president/CEO of the new 3D network from Sony, Discovery and Imax, tells THR.

3net, the new 3D network from Sony, Discovery and Imax, has taken its first step into scripted 3D production with an ambitious four-part series about the Civil War.

The program, which will be shot in 3D, is slated to debut on 3net in the fall and is a departure from most of the 3DTV content being produced at this point — sports or other live event coverage.

Under the working title The Civil War 3D, principal photography on the four-hour program is under way. The program will combine digitized stereoscopic archival imagery from the period, scripted re-enactments and character narrative. It ties in with the 150th anniversary of the start of the Civil War.

“This is based on stereoscopic stills that were taken during the time — those were really the impetus for the idea,” 3net president and CEO Tom Cosgrove told The Hollywood Reporter.“For me, the stills really take you into the place in a way that I hadn’t seen before. It started the idea of looking at a new way to do history programming.

“We started looking at telling the story through stills, then decided to use the stills to supplement re-creations and really create this world in 3D and use the stills as a touch point to get back to the original feel and look of the Civil War.”

More such programming may be on the way.

“There are thousands of (3D) stills from the time of the Civil War all the way through the end of the century and into the next,” Cosgrove related. “There is a big archive that we’ll tap into to tell these stories, and the rest will probably be re-enactments.”

3net also plans to extend beyond history programming. “We are working on several different scripted projects, scripted dramas particularly,” Cosgrove said.

David W. Padrusch will direct and co-write the Civil War series as well as executive produce with Jonathan Towers through Towers Prods. Tim Pastore will executive produce for 3net.

The narrative will include personal stories from soldiers in opposing regiments, the Union’s 20th Massachusetts and the Confederate’s 1st Virginia.

Padrusch said the series would “bring the prism of 3D technology to first-person accounts of battlefield experiences as a way of exploring the humanity and the complexity of motivations of soldiers on both sides of the war.”

“The 1st Virginia and 20th Massachusetts regiments participated in nearly every major battle in the Easter Theater, and the men in these units gave us authentic and haunting first-hand insights into America’s darkest days.” said Patrick Brennan, author of Secessionville: Assault on Charleston, who serves as historical consultant and co-writer with Padrusch.

3net, which has been on the air since mid-February, plans that this Civil War production and all 3net original programs will be lensed in 3D, rather than converted, as 3net believes this offers the highest-quality 3D, Cosgrove said.

For the Civil War series, re-enactments will in some cases be shot at the actual locations and battlefields, such as Gettysburg. The series also will be shot on location in Illinois.

With 3D content for TV still limited, 3net and other young channels in overseas territories have been exploring participation in co-productions or licensing content from one another. Cosgrove acknowledged that America’s Civil War is “obviously not as global a title as some of the natural history (programming), but we definitely have interest. We are not going to always find something that is going to resonate around the world. Sometimes we want to do things we believe in passionately that we think is going to resonate here. This is one of those.”

He added: “We already have pretty significant interest in the U.K.”

See the original post here: http://www.hollywoodreporter.com/news/3net-begins-production-3d-civil-179289

 

Samsung offering 3D Video On Demand in May

 

[By Chris Davieswww.slashgear.com]

SlashGear is at the IFA 2011 Global Press Conference – a taster session ahead of the full show later on in the year – and Samsung has kicked things off with some tasty smart TV and 3D goodness. The company has announced that, as of next month, Samsung will launch a 3D video-on-demand service with free streaming 3D content including IMAX movies previously only available on Blu-ray.

At the heart of the company’s demo was a Samsung D8000 HDTV, one of the top end models from the flagship range, using AllShare DLNA to funnel content between it and a Samsung notebook, 1TB BluRay DVR and an SH100 WiFi camera. As well as being able to search content stored on those various peripherals, the D8000 also goes online and pulls in content shared on YouTube, mentioned on Facebook, or just generally available online in Google searches. The D-pad on the remote doubles as a pointer control in the browser.

The 3D Video-on-Demand system will be available in Europe to those with Samsung’s Smart TV sets. The systems also support streaming between the smart TV and a Galaxy Tab tablet; we’ll have demo video of that later on today.

See the original post here: http://www.slashgear.com/samsung-offering-3d-video-on-demand-in-may-15146252/

< PREVIOUS ARTICLES NEXT ARTICLES >

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.

Oops, something went wrong.