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Uncompressed editing in HD, 2K and 3D on your laptop!

4.17.2011

[Vendor website]

Introducing UltraStudio 3D, the world’s most innovative video capture and playback device using Intel’s new, lightning fast Thunderbolt™ technology! UltraStudio 3D is compact, portable and affordable, yet has high performance for SD, HD or 2K capture and playback that Hollywood film, broadcast television, and post production markets demand. UltraStudio 3D even supports two streams of full resolution video up to 1080p HD for new stereoscopic 3D workflows! Only $995

See more, detailed info here: http://www.blackmagic-design.com/products/ultrastudio3d/

Doremi Cinema’s IMB technology was the catalyst to present James Cameron’s demonstration of 48 and 60 frames per second (fps) at CinemaCon 2011

4.15.2011
“I fully intend to make the rest of my movies at a higher frame rate,” stated James Cameron
[Press Release]
Doremi Cinema, the leading manufacturer and developer of digital cinema server technology receives tribute from Oscar-winning filmmaker James Cameron for its fundamental role in the exclusive demonstration of high frame-rate content delivery for future films. The demonstration entailed a 3D clip that was presented in 24fps, 48pfs and 60pfs to a vast audience during the CinemaCon 2011 convention held at Caesars Palace.
Doremi has been a developer of digital servers for over 25 years, and has been poised for such a challenge due to the immense engineering experience made available throughout years of ever changing standards and market requirements. The foresight shown by Doremi two years ago to include high frame rate play out and alternative inputs on their IMB proved once again that Doremi is in synch with the creative community and film distributors alike.
The 48 and 60 fps demonstration was a unique attempt to extend today’s technological accomplishments to better serve cinema patrons by achieving higher quality movies, and was indicative of the accessible resources made available by Doremi. These higher frame rates open a new dimension for filmmakers. Mr. Cameron supports this notion by commenting, “for the next two Avatar movies, I want to display a higher frame rate, 48 or 60 frames per second.
“Since inception, it has been our company’s vision not only to comply with the industry’s standards, but to also be one step ahead by offering future proof solutions. I believe that the spectacular demonstration by James Cameron attests to that vision” commented Michael Archer, Vice President of Doremi Cinema.
Both Doremi divisions, Cinema and Broadcast, have been actively engaged in the process of delivering content at the desired frame-rate (48 & 60fps) by utilizing combined resources and products. The process of achieving such a high frame rate for the 3D content was overcome by utilizing two (2) synchronized V1HD-2K™ Doremi servers to play back the left and right eye respectively. Doremi’s IMB, was the integrated media block used in the Christie® Digital Cinema Projector during the demonstration resulting in the pristine quality that James Cameron has envisioned. The Doremi IMB features multiple input selections including HDMI with HDCP support, PCIe connection, and Dual 3G SDI inputs which accommodated the higher bandwidth required for the 2K 60fps display projected during the demonstration.

See the original press release here: http://www.dcinematoday.com/dc/pr.aspx?newsID=2297

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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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