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X Games Live: ESPN Kicks “5D” Approach Up a Notch

 

[Submitted by Bryan Burns]

[Excerpts]

X Games has always been known as a breeding ground for technology and innovation, so it comes as no surprise that that the 17th incarnation of Summer X will serve as the most unique, grand-scale production yet for ESPN 3D. The network is taking its “5D” approach (2D-3D unilateral production using a single mobile unit) to the next level, producing all events at the Staples Center using a 3D truck and 3D rigs that supply the left eye feed for the 2D telecast.

“We’re doing the 5D coverage for everything at Staples Center, meaning there are basically no 2D cameras at all,” says ESPN 3D and X Games Coordinating Producer Phil Orlins. “In our 3D world right now, everything is firing appropriately, which is all we can ask for.”

In addition to Staples, ESPN 3D will cover several events at all three venues of the other venues at X Games – the Nokia Theater, the Street & Park Event Deck, and Lot 7. ESPN 3D is deploying 18 3D rigs to produce 21 hours of live coverage, making it the largest and most comprehensive event to date for the one-year-old network. …

Read the full story here: http://sportsvideo.org/main/blog/2011/07/29/29955/

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Panoramic 3D a step closer

[Excerpt]

A 3D prototype of an existing prototype panoramic video camera has been developed at renowned German research lab Fraunhofer HHI. The device features a circular rig capable of carrying up to 30 HD cameras and 15 mirrors to form a continuous 360-degree panorama. …

According to Fraunhofer HHI the rig is scalable in increments of 24 degrees and supports acquisition of live 3D video panoramas of up to 360 degrees with a maximal resolution of about 15.000× 2.000 pixels for each stereo view. …

Generating 3D video panoramas, however, is much more complicated. Whereas the stitching of each panorama for the left and the right eye requires a parallax-free recording of sub-images, the stereo representation itself needs a sufficient amount of parallax for proper 3D reproduction. …

The depth budget for 3D stereo reproduction is controlled independently by adjusting the baseline in the given range.
As proof of concept, Fraunhofer HHI has built a first prototype of the 3D Omnicam with three mirror segments and six HD cameras.

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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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