News Stories

Making 3D television better to watch and more cost-effective to broadcast

[Philip Lelyveld comment: article about Sisvel 3D encoding approach]

[Excerpt]

…  In 2010, Sisvel Technology launched an alternative 3D transmission format that fulfills these criteria. The 3D Tile Format™ replaces the ipso facto standard of vertical or horizontal resolution halving, with a full-resolution image for both left and right eyes. The two stereoscopic images for left and right are delivered at full 720p resolution, fitting into the 1080p frame without requiring extra bandwidth. The perceived image quality is therefore of the full HD experience the subscriber signed up for, without the image degradation caused by heavy compression.

Like the current method, the 3D Tile Format does not need any special equipment or changes to production and transmission infrastructure. This sets it apart from other possible alternative methods such as 2D plus delta, which do require alterations in the infrastructure, at the set top box and TV, and in the bandwidth allocation since the 2D signal uses the full 10M bandwidth normally allocated for the channel and the depth (delta) information needs another 40% on top.
What makes the 3D Tile Format a particularly elegant solution is its simplicity: the cropping window information – which is used to slice the image – is already part of the specification of the H.264 format. 
Read more: http://electronicsfeed.com/news/538 …

Read the full story here: http://electronicsfeed.com/news/538

Forget 3D Screens—We Need 3D Audio, Like in Real Life

[excerpts]

Some decades ago, a salesguy in a high-end audio shop badly misjudged my socioeconomic status and treated me to an ultrahigh-quality recording of an obscure jazz ensemble, played on a $10,000 audio system in an acoustically perfect room. I staggered out goose-bumped and hair-raised, a newly minted audiophile wannabe. …

Turned around, this “object-based compression,” as it’s called, could provide much higher fidelity than that of a typical 16-bit MP3 in an equal-size file. Apple, meanwhile, is reportedly developing a new digital music player that can handle higher-resolution, 24-bit recordings, but who wants pricier, slower downloads that will make your existing music player obsolete? If Thibault’s compression scheme becomes standard, as he hopes it will, we could keep our 16-bit music players, and headphones could easily catch up; a decent pair of $50 earbuds already well exceed the potential of the music that gets poured into them. My kids may go into audio shock when they find out what they’ve been missing. …

So I got in touch with Karlheinz Brandenburg, who, in addition to being director of the Fraunhofer Institute for Digital Media Technology in Ilmenau, Germany, is also the audio technology legend who largely developed the MP3 file.  …

I would invite you, then, to visit Disney World’s Haunted Mansion, which features one of the most advanced 3-D sound systems in the world. The technology, based on the work of Brandenburg’s lab, surrounds a crowd of listeners with a ring of loudspeakers placed at intervals of a few feet. Each speaker puts out a slightly different version 
of the sound, acoustically re-
creating the direction-dependent environment in which it was recorded.  …

Meanwhile, Roginska’s group is already putting its technique to work in a 3-D audio software program called AudioMaps, which relies on the gyroscopic sensors in some mobile devices to determine which way the device is pointing. For example, if you were listening to an audio tour of New York City, you could simply point your iWhatever at the Empire State Building and the narration would sound as if it were actually emanating from the building.  …

Read the full article here: http://discovermagazine.com/2011/jun/24-forget-3d-screens-need-3d-audio-real-life

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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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