News Stories

Arri Alexa in the picture for Avatar 2

4.28.2011

[by TVBEurope]
After directing his previous two 3D movies with Sony cameras, James Cameron seems intent on lensing Avatar 2 using the Alexa M, currently being developed by Arri and the Cameron Pace Group (CPG).
“Cameron Pace have been searching for their preferred camera to use on 3D projects and saw the advantages of the Alexa platform,” said Arri managing director Martin Prillmann. “We’ve been talking to them for a long while about the M concept. They will have access to prototypes which we will deliver by the autumn.”
The decision to select the Alexa M (pictured) would be the logical outcome of CPGs joint venture with Arri to develop a new version of the camera more suited to Steadicam work and for integration with the Pace Fusion rig.
“The Alexa M camera is designed for mobile 2D and 3D camera configurations, offering the same image quality, reliability and workflow options as all other cameras in the Alexa product range,” said Prillman. “CPG will have exclusive commercial access to the first systems in September pioneering its use in a variety of exciting 3D productions during which the design will be enhanced and optimized with new 3D application features unique to the CPG/ARRI collaboration.”
The design of the Alexa M links the camera head to the transmission body by fibre. It employs the same sensor as the Alexa and weighs just 2.5kg without lens making handheld operation possible.
Cameron’s Ghosts of the Abyss and Avatar were filmed using Sony HDC-F950s.Avatar 2 is scheduled for release in 2014.

See the original post here:  http://www.tvbeurope.com/newsletter-3dmasters-content/full/arri-alexa-in-the-picture-for-avatar-2

In-Car Screens Could Use 3D Imaging Technology Soon!

4.27.2011

[by allcartech, www.nitrobahn.com]

How about watching a 3D movie while you are on the move? Yes! Hollywood-based MasterImage 3D, Inc., the pioneers of next-generation 3D technologies, is currently dedicating all its efforts towards developing autostereoscopic screens for use in cars and aircraft.

The company had originally been developing the technology for the next generation of smartphones, before they decided to switch lanes to implement the same technology for automobiles and aircrafts. The switch came up mainly due to the fact that the demand for in-car and in-flight entertainment has been developing at a constant pace. Current generation vehicles come loaded with multiple display screens, which range from TV screens for passengers in the rear to infotainment displays in the front. Hence, the platform for 3D screens in vehicles may seem well laid out.

According to MasterImage, if automobiles are equipped with Wi-Fi, it would leave car owners with additional option to download 3D movies and watch them while on a trip. Passengers could also potentially download games and compete with each other. In addition to that, the car’s satellite navigation systems could also make use of the technology.

If this technology comes out right, it is expected to cause quiet a stir in the world of automotive entertainment. However, it is also noteworthy that the world of automotive entertainment moves a lot slower than mobile devices, and hence, the technology is predicted to take a while before it becomes really widespread.

See the original post here:  http://www.nitrobahn.com/news/in-car-screens-could-use-3d-imaging-technology-soon/

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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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