News Stories

Road crash laser scanners to save millions of pounds

[Philip Lelyveld comment: multiple, detailed scans of accident scenes allow the police to clear accident scenes quickly and create 3D models of the accident sites.]

[by BBC Mobile News]

Police in England are to use new laser scanners at the scene of serious motorway crashes so they can clear the roads more quickly.

The technology saves time by making a 3D image of the site, rather than investigators having to painstakingly log everything at the scene.

It is hoped that getting traffic moving again will save the economy hundreds of thousands of pounds each year.

Roads minister Mike Penning said the £3m investment was money “well spent”.

It is estimated that motorway closures following serious crashes cost the economy £1bn a year, as freight traffic and work commuters are caught in the huge tailbacks than ensue.

Whenever someone is killed or seriously injured in a crash, the site of the crash becomes a crime scene.

An inquest or court case requires police to provide very specific details of road conditions, speed limits and distance between vehicles, and a full inventory of what is found on the road, such as skid markings or debris.

Specialist police investigators can spend many hours surveying the scene, taking measurements and collecting evidence. That can lead to long road closures.

£50,000 an hour

Government figures suggest that last year there were more than 18,000 full or partial motorway closures lasting a total of more than 20,000 hours, at a cost of £50,000 per hour

Speeding up the time it takes to thoroughly investigate a crash scene would allow the police to reopen the road more quickly.

The 3D laser technology uses a special scanner mounted on a tripod to take a 360-degree image of the crash site recording 30m separate data points down to a resolution of less than a millimetre.

Each sweep takes about four minutes and typically police will take four scans of each site.

This digital image of the site can then be viewed on a computer screen enabling investigators to take measurements of where vehicles are in relation to each other and other important evidence.

Previously, much of this work would have been carried out by hand.

“A collision investigator still needs to examine the scene to identify all the evidence he needs,” explained Sgt Richard Auty, a senior collision investigator with the Metropolitan Police.

“But the reality is that when we survey the scene with a scanner it gives us is the opportunity to produce a more comprehensive plan.”

The purchase of 20 scanners will be funded by £3m provided by the Department of Transport, a sum that will be matched by the police.

Mr Penning said the new system is “absolutely money well spent”.

“We need growth. That means I need my motorways working better. I need them open, I need them swept so I am investing £3m to offset the £1bn we are losing.”

It is understood that initially the system will only be available in England.

See the original post here: http://www.bbc.co.uk/news/uk-14092232

I- Movix to show prototype ultra-slow-motion system at IBC2011

The 3-D slow-motion capture option also is available on demand.

[by Broadcast Engineering]

Belgian slow motion specialist I-Movixwill unveil a system it says will break new ground in ultra slow motion at IBC 2011. The system will enable images to be captured at higher frame rates and enable replay at greater resolution than before.

Slow-motion replays have been used in sports for several decades, but recently technical advances have led to more extreme levels that can shed new light on commonplace events ranging from an egg breaking to a person sneezing. The key lies in capturing events at much greater frame rates from 150fps to 10,000fps typically, requiring higher-quality cameras.

As well as its new ultra-slow-motion system, I-Movix will be showing at IBC the latest version of its SprintCam Vvs HD, the ultra-slow-motion system for live HD broadcast production. Featuring the existing SprintCam technology, SprintCam Vvs HD operates at frame rates up to 2700fps in 1080i50 or up to 5800fps in 720p60 (200 times slower than live action) and provides instant replay at native HD resolution and image quality. 

In addition to a dual output that allows a camera operator to shoot and record at the same time, segmented memory, ramping of speed within a replay, and integration of both live- and replay-view on the viewfinder, new features include a totally new operational control panel (OCP) with a more user-friendly design and extra functionality. The 3-D slow-motion capture option also is available on demand.

See the original post here: http://broadcastengineering.com/products/i-movix-prototype-ultra-slow-motion-ibc/index.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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