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CES 2011: Here Come the 3-D Camcorders

After you’ve gotten used to watching your television shows and movies in 3-D, how can you go back to watching home movies in the dull flatness of 2-D? Thanks to some of the cameras jostling for attention at January’s Consumer Electronics Show (CES), you won’t have to. This second generation of 3-D camcorders eschews the high cost and large size of last year’s models, introducing an ease-of-use and portability more akin to the ultraportable Flip camera.

Viewsonic and Aiptek both have 3-D camcorders hitting the market in time for CES 2011. Both cameras use dual embedded lenses to shoot 3-D without any adapter, and retail for the consumer-friendly price of around $200. The Viewsonic 3DV5 only weights a pound, while the Aiptek 3D-HD weighs around two pounds. Incidentally, the two cameras also look almost identical.

Both cameras also contain a 3-D screen within the body of the device, so users can preview their footage without the need of a 3-D TV. The Aiptek camera screen appears as 3-D without glasses, as opposed to the Viewsonic camera, which requires shutter glasses.

To fix that problem, the Viewsonic camera comes with software that converts videos and photos into1950s-style red and blue 3-D for those of us who don’t have modern 3-D glasses. But who would buy a 3-D camera and not buy the new glasses? Maybe we’ll find out at CES 2011.

For comparisons sake, at the 2010 CES, Panasonic introduced the first totally integrated 3-D video camera. It cost $21,000 and weighed 6.6 pounds. Not exactly practical for recording a child’s birthday party or a high school football game. By this July, Panasonic managed to get the price for their 3-D camcorder down to $1,400 and reduced the weight to five pounds, otherwise known as “still too expensive and too heavy.”

By Stuart Fox, TechNewsDaily

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Panasonic Delivers Low-Cost 3D Mixer

SD, HD and 3D-capable product priced at $5,800

Panasonic has begun shipping its AG-HMX100, a low cost HD/SD digital A/V mixer with a suggest list price of $5,800 that the vendor is billing as the first affordable live switcher for use in 3D production.

The compact HMX100, which is designed for SD, HD and 3D productions, combines video switching and audio mixing features into a single unit that weighs less than 20 pounds. It includes a built-in MultiViewer display function and has a variety of interfaces-including four HD/SD-HDI inputs/outputs, two HDMI inputs and two analog composite inputs-so it can be connected to virtually any camcorder or video source.

It also offers a number of other inputs for video and audio and offers the ability to mix embedded audio from HD/SD-SDI camcorders and other sources. The built-in MultiViewer output that allows user to display video sources, audio levels and a waveform monitor in multiple windows on a single high-resolution monitor.

While the product is 3D capable, Panasonic is targeting the product to the school, hotel, government, corporate, cable, live events and wedding markets and it is likely to be mainly used for 2D standard definition or high definition video.

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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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