News Stories

NASA’s LOLA maps the moon (photos)

The Lunar Orbiter Laser Altimeter, one of seven scientific instruments onboard the Lunar Reconnaissance Orbiter spacecraft, recently completed a project resulting in a new map of the surface of moon with unprecedented detail.

Developed at NASA’s Goddard Space Flight Center and launched in June 2009, the Lunar Orbiter Laser Altimeter (LOLA) uses laser ranging to measure the moon’s surface elevation, slope, and roughness in 3D. The primary objective was to produce a global geodetic grid for the moon to which all other observations could be geodetically referenced, NASA said.

Here, the most recent LOLA digital elevation map, which was compiled in late 2009 (right) is compared to the previous moon mapping achieved by the Unified Lunar Control Network in 2005. Notice the vastly improved detail of the moon measurements.

See the story with additional photos here: http://news.cnet.com/2300-11386_3-10005953.html?tag=mncol;1n

Swiss lab introduces omnipresent 3-D camera

A new surround 3-D camera has been developed, inspired by the eye of a common housefly.

EPFL Labs, a Lausanne, Switzerland-based facility that specializes in vision-based robots, has developed the new dome camera that can grab views from nearly all angles. Then, with a special output algorithm, the camera can construct genuine 3-D images.

The camera uses a hardware platform that can calculate the depth of each camera image and then reconstruct a 3-D visual based on how far away the various elements in the picture are located. This is far more sophisticated than today’s stereoscopic approach to 3-D used by TV.

The new camera sees everything around it simultaneously and in real time, and then reproduces the images in distortion-free 3-D. It works without mirrors or mechanical parts of any kind.

More than 100 cameras, similar to those used in mobile phones, are crowded onto a metallic hemisphere the size of an orange. Because they are so close together, their range of vision overlaps slightly.

A second, miniature prototype has been developed that is about the size of a golf ball and has 15 cameras. The user can choose to have them all work together to obtain a panoramic image that covers a 360-degree range of vision or individually to capture a particular point of view.

The cameras were designed and built at EPFL as the result of collaboration between the Signal Processing Laboratory, led by Pierre Vandergheynst, and the Microelectronic Systems Laboratory, led by Yusuf Leblebici.

“With this invention, we solved two major problems with traditional cameras: the camera angle, which is no longer limited thanks to the camera’s ability to film in 360 degrees and in real time, and the depth of field, which is no longer limiting thanks to the 3-D reconstruction,” Vandergheynst said.

Vandergheynst’s lab wrote algorithms to calculate the distance between the camera and objects being filmed to do the 3-D reconstruction in addition to the algorithms that assemble the images taken by all the different cameras into a single panoramic image. The Microelectronics Systems Laboratory developed the material and electronic apparatus that make it possible to collect and process the multigigabits of data that stream in at the rate of 30 images per second from the various cameras.

See the original story here: http://blog.broadcastengineering.com/3-D/2010/12/28/swiss-lab-introduces-omnipresent-3-d-camera/

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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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