News Stories

NHK sends full HD 3-D signals to each eye

[by Michael Grotticelli, Broadcast Engineering]

Japan’s NHK Science & Technology Research Laboratories has demonstrated a new dual-stream Hybridcast process for transmitting full-resolution (1080p) 3-D video data via terrestrial broadcast and a separate broadband Internet connection to home television sets.

Using commercially available active-shutter 3-D glasses, the Japanese broadcaster conducted the Hybridcast demo in late May. The new technology was developed in collaboration with Nippon Telegraph and Telephone (NTT).

Video for one of the right and left eyes was transmitted to a home television by broadcast airwaves, and video for the other eye is transmitted by a broadband connection. As a result, it became possible to transmit full HD-equivalent video for each of the right and left eyes.

Currently, the most common methods used for most 3-D broadcasts are the side-by-side and top-and-bottom schemes. Both compress the dual images by about 50 percent (in terms of the amount of visual data) and stores both of them in one frame of full HD video. Then, they are decompressed at the 3-D compatible TV.

In such cases, most people would agree that the 3-D video resolution is lower than full HD (1080 horizontal lines). The new NHK Hybridcast method does not reduce resolution, according to NHK, allowing the full resolution to be seen.

This new 3-D video transmission method that streams two signals to the television had to overcome a synchronization problem, according to engineers at NHK. Normally, signals transmitted via an Internet connection lag behind the airwaves.  This required the timing to be precisely aligned.

The company exhibited the new technology as one of the applications of the Hybridcast, a service that combines broadcast and broadband. It transmits metadata to tablet computers such as the iPad based on content being broadcast for televisions. The core technology of the service uses presentation time stamp (PTS) for synchronization synthesis of data being transmitted via different channels.

The demonstration used Panasonic’s model TH-P54VT2 54in 3-D TV as a display, but it’s not clear whether NHK had to reconfigure the television in any way.

See the original post here: http://blog.broadcastengineering.com/3-D/2011/06/06/nhk-sends-full-hd-3-d-signals-to-each-eye/

Getty Goes 3D (Augmented Reality)

[LACMA blog]

The Getty website has an “augmented reality” feature on the museum’s c. 1620 German collector’s cabinet. It’s an interactive take on 3D that’s arguably more compelling than the non-interactive, glasses-required version that has Hollywood agog. You have to print out a .pdf and hold it in front of a computer with a webcam. The print-out is a simple black-and-white silhouette. When you tilt it, the on-screen image rotates as if you were holding the real thing. (The above is a demo and will work without a webcam or print-out.)
The Getty site also has a more conventional interactive feature on the cabinet, which goes on view tomorrow as part of the refurbished galleries of medieval and Renaissance sculpture and decorative arts.Pictures of the new installation look impressive. One surprise is that the British royal collection has lent the long-separated mate to the Getty’s Cellini Satyr for the inaugural display.

See the original post here: http://lacmaonfire.blogspot.com/2010/05/augmented-reality-at-gettyedu.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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