News Stories

AIST i3Space – Touchable 3D TV

/ you can feel a force pushing or pushing back / the system can detect contact between fingers and the 3D picture /

The Ubiquitous Interaction Research Group at AIST has developed i3Space, a system that gives a sense of touch and interaction to 3D images. It also enables shapes to be designed while checking how they feel to touch.

“Until now, with 3D TV, when the picture came right out, and appeared before your eyes, you couldn’t touch it. This technology enables you to touch that 3D picture.”

In this system, position detector markers are attached to a compact tactile and kinesthetic interface. They recognize the user’s movements, and control the presentation of tactile and kinesthetic information in real time, to provide sensations from the 3D picture.

“To enable users to feel force, the system uses vibration. It’s like the vibration of a mobile phone. It creates an illusion by means of characteristic vibrations. Normally, vibration doesn’t have a direction of force, but with this technology, you can feel a force pushing or pushing back.”

This system can also measure the movement of several fingers from six directions simultaneously, so finger movement doesn’t get hidden by the palm. From the finger positions, the system can detect contact between fingers and the 3D picture, and when the user grips the picture. It also detects expansion and contraction after gripping. Based on this detection, the system enables the user to feel a force, by calculating the sensation and response between the 3D picture and the fingers, and controlling the interface accordingly.

“Games can now be played with 3D pictures, but at present, they’re played from a distance, with a remote control. With this system, when a picture appears before your eyes, you can manipulate it by touching or pushing it. The system could also be used for training purposes; for example, as a surgical simulator in medicine, providing sensations like using a scalpel. I think it could also enable people to touch sculptures in an art gallery while at home.”

From now on, the group will work to make the system more compact and improve its performance. They also plan to collaborate with electronics manufacturers, to enable the system to support smartphones, and develop applications and do field tests.

link to original post at http://www.diginfo.tv/2010/09/08/10-0154-r-en.php

Hi-definition 3D video online (YouTube)

It is still quite difficult to find hi-res 3D videos online, but recently YouTube 3D added large resolution images to his offer. Stereowindow (Tampere, Finland) added today on YouTube a nice 2 minutes timelapse video you can watch in resolutions as high as dual 4096×2304 pixels.  The video was shot with two Canon EOS 5D MkII and some other cameras.

Goto the video here on YouTube, but to watch it in true hi-res, download the file by copying/pasting the video URL in the “download” box on KeepVid here. Then use your own 3D gear (including stereoscopic player, etc.) and enjoy the movie with your active glasses!

The StereoWindow web site is here.

You can watch the same video in the following resolutions on YouTube 3D :

Low Quality – 400×226

Medium Quality – 640×360

High Quality – 854×480

High Quality – 480×360

High Definition – 1280×720

High Definition – 1920×1080 (“1080 HD” in the YouTube resolution menu)

Epic Definition – 4096×2304 ( “original” in the YouTube resolution menu)

link to original post at http://stereoscopynews.com/hotnews/3d-movies/3d-shorts/898-hi-definition-3d-video-online.html

< PREVIOUS ARTICLES NEXT ARTICLES >

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.

Oops, something went wrong.