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3D: a gamers’ guide

4.17.2011

Everything you need to know about playing 3D games

The arrival of 3D technology into cinemas and now our homes is one of the most controversial aspects of popular entertainment. Some see it as a massive creative leap forward, the equivalent of Renaissance painters discovering perspective; others dismiss it as a gimmick, a means of selling ever more expensive movie tickets and TVs to gullible thrill-seekers. And now, at the heart of this whole debate, is the gamesindustry.

All three of the major console manufacturers are backing 3D as a concept (some more than others, but we’ll get on to that in a bit) and most game publishers, too, are supporting 3D with their main titles. There’s now an interesting range of games available, showcasing the potential for 3D in the interactive sphere, and several massive examples are due out later in 2011.

Arguably, it is in games where the tech could really make a difference. While seeing stuff flying out of the screen can certainly enliven films, the ability to perceive depth might actually make a palpable impact on the very nature of game design, leading to environments of greater immersion and a more intuitive navigation experience. Anyone who’s ever tried to leap from one platform to another in a polygonal world, like Assassin’s Creed or Super Mario 64, will know what I mean.

So what do you need to play 3D games at home, and what titles should you try first? With the significant help of James Rivington fromTechRadar, here’s our quick guide to 3D entertainment for the interested console owner…

Read the full, lengthy article here:  http://www.guardian.co.uk/technology/gamesblog/2011/apr/15/3d-a-gamers-guide

 

Sony’s John Koller Sees Similarities Between 3D TV and HD TV Adoption for PlayStation 3

4.17.2011
[By John Gaudiosi, www.gamerlive.tv]
Are there comparisons between the HD TV adoption with PS3 and how you see 3D TV adoption playing out?
Absolutely. HDTV adoption really took off when content arrived –primarily sports and Blu-ray movies. Similarly, 3DTV adoption will take off as more content – and in our view gaming content – launches that capture the consumers’ mind and heart. The first time you viewed a baseball game in HD, and it felt like you could actually touch the pitching mound, was a seminal moment. The first time consumers play an MLB ’11: The Show or an Uncharted 3 in 3D will be an equally momentous occasion. 3D gaming really feels like you’re in the middle of the game, which is just an awesome experience. Currently 78 percent of PS3 owners have HDTVs, which underscores the value they place on having the most visually immersive experience when gaming. 3D is clearly the next step for PS3 owners who want to take their gaming experience to the next level.
How big a push is 3D for Sony moving forward when it comes to games?
3D gaming definitely plays a significant role in our business strategy. PlayStation has long been fueling innovation and providing more reasons for families to gather in their living rooms. When you combine titles such as Killzone 3 or MLB 11: The Show, for example, with 3D as well as PlayStation Move, you’re enabling a unique gameplay experience that makes you feel more immersed in the game than ever before.
How do you decide what games will get the 3D treatment?
Ultimately, this is a decision borne of development creativity and business realities. For first-party games, we focus on games that can be enhanced by a 3D experience, where there’s plenty of movement and depth in 3D space. Typically, these titles fall into genres such as action, adventure, racing, and sports.
Are there things game makers can learn from what we’ve seen on the Hollywood side with 3D movie filming?
Hollywood has paired 3D with the right content, with movies such as Avatar, Alice in Wonderland and TRON Legacy. We need to do the same thing in the gaming space. 3D is a huge advantage to the PS3 platform as a primary reason to purchase, and we need to ensure that the right content is married with this engaging technology, so that the consumer truly feels as if he or she is playing ‘within’ the experience. While we’re extremely committed to 3D, we want to make sure that the content is correct for the technology. It’s been our counsel to publishers to ensure that the right games utilize 3D, and you’re seeing the results of these discussions with the strong lineup of 3D games arriving in 2011.
How are you using 3D content like Sports Illustrated Swimsuit to entice consumers to upgrade to 3D outside of games?
The Sports Illustrated Swimsuit video in 3D is the perfect example of exclusive 3D content that you can only find on Sony internet connected devices. There were 83,000 downloads of the Sports Illustrated video from PlayStation Network in one week, so we know there’s an appetite for all types of 3D content. We certainly view gaming and video content as equal drivers of the 3D experience, and we know that the PlayStation 3 is that device that most people are choosing as their 3D player for the living room because it plays such a variety of 3D content.
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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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