News Stories

University consortia plans 3D pipeline

An international consortia of universities are planning to install stereo 3D production pipelines on campus sites to research techniques and produce new forms of 3D content, writes Adrian Pennington.

The initiative is being led by Germany’s Karlsruhe University of Arts and Design, part of the Zentrum für Kunst und Medientechnologie (ZKM). The faculty has separately brought together regional German institutions to form what it believes to be the world’s only stereo 3D content research and development centre.

“We develop mainly for art, but with our partners we will research formats and pilots for 3DTV,” explained project leader Ludger Pfanz.

Other members of the international consortia include the Cinema Research Centre, New South Wales, Australia; Victory University, New Zealand; Poznan Academy of Fine Arts, Poland; the Art, Design and Media school at Singapore’s Nanyang Technological University (NTU), Hong Kong’s City University; Tongji University in Shanghai; Universidad de Bellas Artes, Tenerife, Spain; Bucharest National Film and Theater University, Romania; Emily Carr University of Art and Design Vancouver; University of Strasbourg and German/French cable TV channel Souvenirs from Earth. There are currently no partners in the UK or US.

The consortia aims to research advanced stereoscopic 3D visual effects and animation filmmaking techniques, provide technical feedback to the industry and produce new forms of stereo 3D content.

“We are forming an international consortia because we think there are different conceptions of visual space among different cultures,” explained Vibeke Sorensen, Chair of the School of Art, Design and Media, NTU. “We want to apply that understanding of spatial uniqueness to the creation of global 3D narratives.”

NTU is looking to invest U$500,000-U$1 million in a new stereo facility including digital cameras and 3D rigs to augment animation, visual effects and digital media higher education courses.

It already has a site Nuke license for post production and by January 2011 will have installed 160 3D-capable PC monitors. It plans to open a 3D screening room and theatre next May.

The consortia is headed out of Karlsruhe University of Arts and Design in Karlsruhe, Baden-Württemberg, South West Germany which has formed a ‘3D Alliance’ of regional higher education institutes and invested in an array of stereoscopic equipment.

The kit list includes: 2 ARRI Alexa digital cameras, 5 Sony PWM-EX 3s, 2 Panasonic AG-3DA1 3D camcorders; a SwissRig; Panther Dolly; Piranha 3D workstation and monitor; IFX OnSet DIT monitoring; Iridas 3D workstation with monitors; Barco 2k DP 2K-20C D-Cinema Projector; and Dolby DSS 200 screen server.

The 3D Alliance includes Technische Hochschule Karlsruhe; Musikhochschule Karlsruhe; Karlshochschule; HS Technik Wirtschaft Karlsruhe; Institut für Bildmedien; Institut für Akustik; Kulturamt Stadt Karlsruhe; and the Karlsruhe Institute of Technology.

“Under our leadership all universities in the region are working on different 3D issues,” explained Pfanz. “We have complete workflows for autostereoscopy, for full HD 3D and for 2K 3D with our own 3D cinema and we are developing a new faculty for stereoscopers. To my knowledge we are the only 3D content research and development institution worldwide.”

A first international symposium on stereo content ‘3D and Beyond’ is scheduled for April next year and a 3D festival for cinema, TV and art will be held May 27-29 at ZKM.

Other initiatives at Singapore’s NTU include research into realtime stereoscopic post production which will take data from multiple video cameras and automate changes to the 3D picture including background replacements, recolouring and grading.

There is also a special focus in stereo 3D stop motion animation. “To create stop motion animation you need to understand the depth and distance between objects, sets and characters, a skill which is directly applicable to working in the digital stereo medium,” said Sorensen.

“We want to look beyond 3D as an effect and see how we can use new techniques to apply emotion, mood and atmosphere to narratives.”

The full original post is here: http://www.tvbeurope.com/main-content/full/university-consortia-plans-3d-pipeline

MasterImage shows autostereo display and tools at CES

Ramping up its efforts to drive consumer adoption of 3D on mobile devices, 3D technology company MasterImage 3D, LLC is showcasing its glasses-free 3D displays for smart phones and tablets in Las Vegas this week at the Consumer Electronics Show.

Analysts predict that by 2014 the number of 3D-enabled mobile devices will surpass 60 million units.* MasterImage 3D is a key force in driving the ecosystem that is enabling 3D as a universal experience on all platforms. Today the company provides digital 3D systems for theaters, auto-stereoscopic 3D display technology for mobile devices and a 3D camera ASIC for mobile photo and video.

At its CES exhibit booth, #26011 & 26012 in the 3D@Home Tech Zone, the company is introducing its MasterImage Stereo Kit (MISK)to content developers, a hardware/software system with a 4″ auto-stereoscopic 3D display that runs on the Android OS which can be used to create 3D games, movie playback, short-form content and custom UI’s for smart phones and tablets.

See the full press release here: http://marketsaw.blogspot.com/2011/01/ces-2011-masterimage-3d-showcases.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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