News Stories

How to Calibrate Your HDTV

[PC World – excerpts]

We asked a professional to walk us through the delicate process of calibrating an HDTV. Here’s how to do it–and more important, how to determine whether it’s worth the trouble.

… I selected Robert Heron to calibrate the HDTV. You may know Heron from HD Nation, Tekzilla, and other Web-video tech shows; he has also written tech articles for a number of publications. …Heron is also a hard-core videophile who has gone through all the training and certifications for calibrating HDTVs, including both THX and ISF training classes. …

The visual quality differences I now perceive, after my set’s calibration, are somewhat subtle. Dark areas of a scene certainly have better detail, and colors seem natural. If I shift between the THX Cinema and ISF 1 settings, I don’t see huge differences, though I tend to prefer the calibrated ISF 1 setting by a hair. On the other hand, the difference between THX Bright Room and ISF 1 is noticeable, and in that comparison I definitely prefer the calibrated setting.

Is calibration worth the cost and time? In my case, it’s still a little early to tell, but once again it depends on your viewing habits and your eye. Robert Heron will be dropping by my place for a follow-up session after doing some digging to tweak some of the settings further. Maybe we’ll get my HDTV even closer to perfect.

Read the full story here: http://www.pcworld.com/article/238351/how_to_calibrate_your_hdtv.html

 

First Ever Digital Binoculars: Sony Brings 3D Recording, Zoom & More

[TechRadar – excerpt]

The binoculars are the world’s first digital binoculars that record Full HD video with stereo sound. A 3D record mode is also available.

Both feature variable zoom, which allow you to scan a wide area before seamlessly zooming in to a given subject, such as a bird.

On the DEV-5, optical zoom is available up to 10x, and then expandable up to 20x with digital zoom. The DEV-3 has a maximum magnification of 10x.  …

The DEV-5 also includes an on-board GPS receiver that automatically geotags video clips. Tagged clips and images can be viewed after shooting in online maps.  …

The binoculars are able to capture still images in 4:3 ratio at 7.1 megapixels, while 16:9 ratio images can be captured at 5.4 megapixels.  …

The DEV-5 will retail for approximately £2,300, while the DEV-3 will be priced approximately £1,780, with shipping starting in late October or early November.

Read the full article here: http://www.techradar.com/news/photography-video-capture/cameras/sony-introduces-world-s-first-digital-binoculars-993704

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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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