News Stories

Treemetrics 3D scanning sees the wood for the trees

(Phil Lelyveld comment: Great story of another industry making use of 3D capture technology.)

“A 3D laser scanner works by emitting laser pulses which bounce back from objects in the area, allowing their shape to be measured. The 3D laser scanning machine gathers millions of data points over a 30 meter radius of forest which is used to construct a 3D model of the trees in that area. Virtual sawmill software can then be used to calculate an optimal logging schedule.”

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Treemetrics is taking forestry high-tech with its 3D laser scanning system to accurately measure the height, straightness, taper and volume of the trees in a section of forest. Currently measurement is done manually by a forester walking the ground and using calipers to measure the radius of a sample of trees. Treemetrics just received an innovation award from the Irish Society of Foresters hot on the heels of a special mention from the judges in IBM’s smartcamp global finals.

TreeMetric’s CEO Enda Keane told me that if there is one thing that foresters hate doing, it’s cutting trees. He should know, having worked as a forester himself for 10 years. According to Keane 20 percent of the value of forests worldwide (or approximately 10 billion Euros) is lost annually due to inaccurate knowledge of the quantity or quality of the timber available before trees are harvested. Better measurement means that fewer trees can be cut while maximizing value. Treemetrics claims that its system can also reduce measurement costs by 75 percent.

Keane first encountered 3D graphics via satellite images, which foresters use to get different views of the forest. Having started the company in 2005 with Garret Mullooly, he collaborated with research teams at several European universities with expertise on image processing, forest recovery and optimization to develop the software for the Treemetrics scanner.

A 3D laser scanner works by emitting laser pulses which bounce back from objects in the area, allowing their shape to be measured. The 3D laser scanning machine gathers millions of data points over a 30 meter radius of forest which is used to construct a 3D model of the trees in that area. Virtual sawmill software can then be used to calculate an optimal logging schedule.

Treemetrics’ system is now used in forests in Ireland, Norway, Australia, United Kingdom and the USA. Keane says that there are no direct competitors. Currently aerial photography is the main technology used in forest management in addition to manual measurement. The business model is software as a service where users are charged 30 EUR cent per cubic meter for measurements alone and 40 cents to use forest management optimization software.

The next feature Treemetrics expects to add to the software is the ability to connect forests directly to sawmills. This would allow a lean supply chain model to be applied to forestry. Forests would be logged for optimal yield while sawmills would get the right logs in a “just-in-time” manner.

Treemetrics is based in Cork, Ireland, has 7 employees and has received 1.4 million EUR ($1.87 million) in private and government funding.

Full story here: http://www.reuters.com/article/idUS247046967520101206

Consumer 3D cameras and camcorders: The first wave

Up until 2010, there were nearly no off-the-shelf cameras for consumers to create digital 3D photos and movies; it was pretty much a hobbyist or professional thing to do. But with people hungry for content to view on their 3D-enabled TVs or computers, manufacturers started trickling out cameras and camcorders this year that just about anyone can use for shooting 3D.

The cameras don’t all create 3D in the same way, though. Panasonic, for example, is currently relying on add-on lenses that feed stereo images to a single sensor. Fujifilm, DXG, and others, however, are using dual lenses and sensors, which is the more traditional way–and some might argue the best way–of creating stereoscopic images.

Sony skips both of these methods by using a single lens and high-speed shooting and processing to simultaneously capture left and right images that are stitched together in camera. (I expect the remaining manufacturers that don’t have 3D cameras to go this last route, as it’s likely the least expensive option to implement.)

Plus, there’s software to take the 2D content you already have and convert it to 3D, which saves you the trouble of buying a new camera or camcorder altogether. (You could always go back to film or DIY, too.)

by Joshua Goldman

Full story here: http://news.cnet.com/8301-17938_105-20024125-1.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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