News Stories

‘The Realm’ – Integrated Live Theater and 3D Projection – Univ of Alabama Production

The Realm is a theater piece that integrates 3D projections with live actors in real time.  See a technical description of the production here: http://theatre.ua.edu/therealm/technology.html

 

The Realm

April 19-22, 2011

University of Alabama

 

CONCEPT
The Realm, is the first theatrical dance performance that will use stereoscopic 3D to create a virtual environment for “live” performers in real-time; thus, adding a more cinematic element to live theatre; and in turn, adding an entirely new level of immersion for the audience.

For example: lets say you are an audience member, you are sitting in the theater, the backdrops and sets are in stereoscopic 3D (so you see the stage and sets in real z-space and/or depth), the audio track is in 10.0 Digital Surround Sound (so you hear the sound as if you were there), the theater is equipped with new technological additions, and the performers are on stage. Now, as an audience member, you see what appears to be the inside of a graveyard—all of a sudden, the two large gates open, swinging toward you (you’ll see those gates coming toward you and hear all sounds associated with such an event). Just then, you see the cast (real performers) walking toward you on stage, the background (set) moves as well and gives the illusion that they are walking deeper into the cemetery. Now, as the performers progress, they stop at a tree: you see the leaves blowing (it’s in 3D), you hear the wind (it’s in 10.0 digital surround sound), you feel the wind (there are large fans blowing the audience in sync with the action and sound), and now you feel leaves hitting you. Then, all-of-a-sudden, you see these zombies (pre-recorded 3D video footage of dancers) coming out their graves walking toward you (the audience) and once in relation to the live performers, they, the zombies (pre-recorded 3D video) begin dancing and performing with the live performers on stage; thus, adding a more realistic and cinematic experience while providing a more immersive experience for the audience.

THE REALM’S DESIGN
After several months of research and a couple of weeks of testing, a solution was devised using High End System’s, DL.3. The DL.3 is an intelligent fixture with a 7K-lumen projector, built-in camera, built-in server, networking capabilities, and software to frame blend images. By taking advantage of this intelligent fixture’s unique and revolutionary technology, it allowed for a more streamlined and economical approach to our projection system. Using a total of 8 – DL.3 fixtures and dividing them into quadrants (each quadrant having a pair of fixtures (one for the left eye image and one for the right eye image)) we were able to obtain the needed screen size. Using the fixtures on-board collage generator and networking capabilities, a seamless panoramic image created. It also allowed for controlled show cuing system.

The Realm would like to thank High End Systems and Main Light Industries for their continued support and assistance with the DL.3.

 

Video game analyst: “‘Uncharted 3’ could do for 3-D gaming what ‘Avatar’ did for 3-D movies”

[By Mike Snider, USA Today]

Naysayers about the importance of 3-D in video games just lost one to the other side: EEDAR analyst Jesse Divnich.

After spending April 7 at Sony’s Analyst Day and seeing updates of upcoming games such as Uncharted 3: Drake’s Deception (out Nov. 1), Resistance 3 (Sept. 6), Twisted Metal(Oct. 4), Ratchet and Clank: All 4 One (fall) and Infamous 2(June 7), Divnich issued a report today announcing his defection to the 3-D side.

“I’ve personally never been fond of games in stereoscopic 3-D,” he writes. “Sure, KillzoneGran Turismo, and MLB: The Showlook great in 3-D, but I’ve personally never felt that 3-D added anything significant to my gaming experience. Now that I have had to chance to experience Uncharted 3 in 3-D, that opinion has changed. … With a core focus on cinematic, story, and action, Uncharted 3 is the prime candidate to convince the naysayers that 3-D belongs in video games—it certainly has convinced me.”

Divnich went on to say that Uncharted 3 “could do for 3-D gaming what Avatar did for 3-D movies. However, given the significant difference in cost to experience Uncharted 3 in 3-D over Avatar in 3-D, one certainly shouldn’t expect a mad mob rush of consumers to drop $3,000 on a 3-D television just forUncharted 3. Instead, Uncharted 3 will solidify 3-D’s legitimacy in the interactive entertainment landscape, just as Avatar did for the 3-D movie experience.”

 

More of Divnich’s outlook on Sony:
— Sony is “well-positioned for continued software growth on the PlayStation 3” with its release schedule for second half of 2011 (Resistance 3Ratchet and Clank: All 4 OneUncharted 3, and Twisted Metal) and its third-party share continues to grow worldwide.
— The Next Generation Portable (due out later this year), he says, “will likely have stronger market success than the PSP. … The key to the NGP’s success, like that of all other gaming platforms, is third-party support. While Sony has currently only announced one third-party title (Call of Duty by Activision), we expect all major third party publishers to announce support at E3 2011.”
— The PlayStation Network has over 75 million registered users and has had more than 1.4 billion pieces of content downloaded globally.

See the original post here: http://content.usatoday.com/communities/gamehunters/post/2011/04/video-game-analyst-uncharted-3-could-do-for-3d-gaming-what-avatar-did-for-3d-movies-/1

< 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.