News Stories

Technical Handbook of Visual Display Technology (2000 pages!)

[emailed by Mark Fihn]

Dear display enthusiast,

 

I am one of the three editors-in-chief of a new reference work covering all aspects of displays technology in 2000 pages. The work has taken 5 years to create. Please look at:

http://www.springer.com/engineering/signals/book/978-3-540-79566-7

 

The Handbook of Visual Displays Technology will be published by Springer in August, and we have arranged a discount of 20% for those reserving a copy before publication. If you would like to see details of this offer, please email robin@canopusbooks.com(Canopus edited the handbook with Springer).

 

“I am honored to write a ‘Foreword’ for the precious and voluminous book that you all edited tirelessly after compiling the chapters written by numerous experts of display technology in the world and I am proud of all those who contributed because most of them are well known in SID and they are the ‘cream’ in the world”.

 

— Prof Anandan, President of SID

 

 

Best regards,

 

Mark Fihn

www.veritasetvisus.com

To 3D Or Not To 3D: Buy The Right Green Lantern Ticket

 

 

 

SCORES RECAP
3D Fit 5
Planning and Effort 3
Beyond The Window 2.5
Before The Window 3
Brightness 5
The Glasses Off Test 2.5
Audience Health 5
Total Score 26 (out

 

This summer has been packed to the gills with 3D movies, with a new title practically coming out every single week. I remember a time not so long ago when theaters were concerned that there wouldn’t be enough between 3D movies for each one to gets its fair shake. Now digital projection is ubiquitous and I’m here to review the usage of the new technology in Martin Campbell’s Green Lantern

While the movie hasn’t been doing so great with critics in general (check out our own Katey Rich’s review right HERE), it’s expected that fans of the comic book character and the genre in general will show up to see the movie this weekend. So, here’s the question: do you spend a few extra George Washingtons on the 3D or do you save that money and put it towards the popcorn and soda? Check out our full breakdown of Green Lantern’s 3D below.

Does It Fit?
One of the major reasons Avatar was such a stunning 3D achievement is because approximately 60% of the entire film was constructed using computer generated imagery. The same rule applies to animated films like Legend of the Guardians, which currently holds the record for highest To 3D Or Not To 3D score. The reason for this is that the more you create in a world, the more control you have to adjust and move what you’ve created in a 3D space. Green Lantern fits snugly into this category. Every scene that takes place on the alien planet Oa is almost entirely CGI. Throw in the fact that this is a superhero film with plenty of action and you have what we like to call a perfect fit for the 3D format.

Fit Score: 5/5

Planning & Effort
Let it be known: Green Lantern was not shot in 3D. Rather, like Green Hornet,Alice in Wonderland and The Last Airbender, Martin Campbell’s film has been post-converted. Before you start throwing tomatoes, however, it is important to note that the decision to add 3D later was planned long before the extended post-production schedule. Why does that matter? As mentioned above, the film uses a great deal of CGI and the folks behind the visual effects constructed that with 3D in mind. Sadly, not shooting in 3D did negatively affect the Earth-bound scenes, which will hurts the movie’s overall score.

Planning & Effort Score: 3/5

Beyond the Window
While I understand that some of our readers are sick of having to read explanations about what this means every time we run one of these features, it’s important that new readers understand what the hell we’re talking about, so I’ll make this brief. When we say “Beyond The Window” we are referring to the sense of depth that a 3D movie provides. You may start noticing a theme developing here, but there are some parts of Green Lantern that use this effectively, while others don’t use it at all. The film begins with an incredible Geoffrey Rush-narrated explanation about the birth of the universe that is absolutely stunning and makes the audience feel like they’re going to fall into the screen. This is actually a fairly common feeling while watching scenes on Oa. Sadly, the same can’t be said for scenes on Earth, which, with the exception of a few, are rather flat. Because of this dichotomy, I have no choice but to split the score in half.

Beyond The Window Score: 2.5/5

Before the Window
Again, I’ll keep this short and sweet: while “Beyond The Window” is in reference to the sense of depth, “Before The Window” is an analysis of how effectively things come flying out of the screen towards the audience. While Green Lantern never explores the full potential of 3D technology in this department, it does surpass the sense of depth in that it’s more consistent throughout the entire film. There are multiple instances both on Oa and on Earth where Hal Jordan (Ryan Reynolds) uses his ring to create green energy constructs that either fly out at the screen or fire projectiles that look as though they are being launched into the audience. Naturally it’s at its best during the action sequences, but there’re plenty of those to go around.

Before The Window Score: 3/5

Brightness
Even James Cameron would agree: the biggest roadblock in 3D technology is brightness. Because we haven’t reached the point where audiences can watch 3D movies without the aid of glasses, we are forced to watch through murky lenses that can hamper the look of the film. While there’s no way to fix this completely, there are measures that filmmakers can take to improve the brightness of a 3D film, and Martin Campbell has taken them with Green Lantern. While likely not as vibrant as 2D print would look, the movie never succumbs to the murky muddiness seen in more under-developed 3D films. There has been some controversy about this lately, so I’ll also mention that I watched the film at an AMC Theater in Los Angeles. Use that information however you like.

Brightness Score: 5/5

The Glasses Off Test
While watching a 3D film, taking off your glasses can be quite an effective way to gauge just how intense the experience is. Because the technology works by sending separate images to your left and right eyes, the best 3D movies are completely blurry except for the item or person that’s meant to be in focus. In the case of Green Lantern this is inconsistent. The scenes set on Oa, where CGI is most prevalent, are incredibly blurry, demonstrating that they use 3D to great effect, while scenes set on Earth might as well be 2D in many cases. It’s the Judgment of Solomon all over again, people. We’re splitting the score in half.

Glasses Off Score: 2.5/5

Audience Health
There are people out there that can’t watch 3D, and I’m not just talking about the one-eyed folks among us. Some sections of movie-going audiences have been known to experience extreme motion sickness and/or headaches while watching films in the third dimension. This is often completely subjective, but it also tends to happen in films where the focal point shifts a lot and viewers strain their eyes to keep focused. It should be noted that I rarely feel these effects, but I left my screening of Green Lantern feeling perfectly fine and in zero pain.

Health Score: 5/5

See the original post here: http://www.cinemablend.com/new/To-3D-Or-Not-To-3D-Buy-The-Right-Green-Lantern-Ticket-25252.html

< 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.