News Stories

The Stereographer’s Wizard is coming

1.12.2011

Advanced 3D Systems (UK) are proud to announce a new ortho-stereoscopic 3D digital processor. The Stereographer’s Wizard offers real-time, low-latency Digital Processing in a compact 1RU frame, suitable for live Stereoscopic production,drama/feature production or post production.

Connect the two 3G-SDI input connectors to you cameras, and the two 3G-SDI out connectors to your OB Van, and your 3D is corrected in real-time to the smallest sub-pixel !

Original post here: http://stereoscopynews.com/hotnews/hotnews-1/hotnews-2/1181-the-stereographers-wizard-is-coming.html

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From Advanced 3D Systems Ltd website:  http://www.advanced3dsystems.com/products.html
The Stereographer’s Wizard allows real-time adjustment of Digital toe-in and can correct for all the regular rig errors such as roll, vertical misalignment including lens corrections.
Main Features
– Real-time Stereoscopic 3D Processor
– 1 Frame total processing delay
– Two HD-SDI Inputs
– Two HD-SDI Outputs
– Inbuilt Synchronisers
– Analogue Monitoring Output
– Ergonomic control system
Real-time viewer; All controls on one screen
– Dedicated hard-key controller
– Compact 1U Chassis
Controls
Live Controls
– Auto Zoom
– Toe-In
– H-offset
– Vertical Disparity
– Crop
Banana Distortion Compensation (V2.1 Software)
Keyframe-able Parameters for each lens
– H-shift
– V-Shift
– Zoom size
Rig-Alignment Controls
Left/Right Set of Controls for…
– H-Shift
– V-Shift
– Zoom
– Roll
– Toe
– Flip H
– Flip V
– Keystone H
– Keystone V
– Also, Left/Right Differential Controls
Shot-Box
– For quick recall of presets during live
performance
– Smooth match depth presets
Analysis Tools
– DVI Viewer
Real-time PC screen provides
– Left, Right, Mix & Diff Modes
Options
– Advanced Analysis Package

Artbeats Provides a Wide Variety of Royalty-free 3D Clips including the Industry’s Only Collection of 3D Aerial Footage

1.12.2011

Answering the growing demand for 3D elements for television and film

“For over 20 years, Artbeats has specialized in footage that has high production value and is often difficult to shoot,” explains Artbeats President and Lead Cinematographer, Phil Bates. “In this case, we couldn’t ignore industry demand, so we’ve set our sights on providing the 3D content that our customers require but may not be able to shoot themselves.”

In keeping with the company’s reputation for innovation, Artbeats became the first production company to utilize Pictorvision’s gyrostabilized eclipse 3D aerial rig, capturing aerials of downtown Los Angeles, Hollywood, Santa Monica, Long Beach and the shores of Catalina. On this shoot, two RED MX cameras with Optimo 17-80mm lenses were used to obtain nature imagery and dramatic daytime and nighttime shots of Los Angeles skyscrapers. “With a 6.5″ interocular, the distance between lenses, we stayed close to our subjects to get the deepest stereo effect,” says Bates. “Our all-pro crew included stereographer, Ken Corben, DP, Doug Holgate and pilot, John Tamburro. The combination yielded some incredible footage that is now available on our website. Although we’re excited about our initial offering of 3D footage, it is only a small sample and more will be made available in the coming months.”

Artbeats’ 3D equipment, which includes RED MX cameras on a stereo rig, will expand to include RED Epic cameras and a beamsplitter rig later this year. “We’ll be shooting fire effects, urban settings, establishments, and much more,” adds Bates. “We have a very busy year planned. In addition, our 3D library is growing to include content from outside producers.”

Artbeats’ S3D stock footage is offered as QuickTime movie files with formats that include HD stereo pairs (both sides squeezed horizontally into a single HD frame), separate HD Right and Left views and 4K versions (when shot on RED). Available via the company’s website, Artbeats provides helpful metadata specific to each S3D clip including the positive parallax percentage, interocular separation measurements, and the maximum display size, which is the largest suggested screen size on which to display a clip. Artbeats also offers a helpful S3D Video Guide , and a free downloadable full HD resolution S3D clip to help editors gain a feel for the high quality and ease of use that Artbeats footage is known for.

For additional information about Artbeats’ S3D footage, and to download the free clip, please visit www.artbeats.com/S3D.

Pricing and Availability

Royalty-free pricing for S3D HD footage is $449 to $799 USD, per clip. Artbeats FootageHub rights managed S3D HD clips range in price from $499 to $1,999 USD. Pricing includes separate left and right views, as well as a side-by-side stereo pair. Most of the S3D clips are also available in high-res 4K versions.

To purchase Artbeats’ S3D footage, or to preview the clips, either as an anaglyph movie or by the cross-eyed viewing method, please visit www.artbeats.com/S3D.

source of story here: http://www.studiodaily.com/main/news/headlines/Artbeats-Adds-New-Dimension-with-3D-Footage-Offerings_12847.html

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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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