News Stories

Strong convergence in 3D animation and compositing exporting

9.17.2011

[Press Release]

Demand for integrated solutions allowing 3D animation data export to After Effects and other compositing applications is growing, according to software developer VFX Wizard srl.

Use of compositing software such as After Effects has always been instrumental to the production of realistic 3D rendered imagery for visual effects, architecture and motion graphics. Originally these operations were clearly separated. Rendered 3D imagery was created by the animation teams and later compositing teams would process rendered
images adding two dimensional elements and enhancing their realism.

In the last few years, the fast evolution of the digital media industry along with the need for a more agile pipeline has blurred the line between 3D animation and compositing, leading to an increased demand for integration solutions. Today artists are more likely to mix two and three dimensional techniques, while smaller studios find more cost-effective to consolidate the production, especially in the motion graphics industry.

“Just a few years ago, tight integration with After Effects was regarded as a special feature for 3D animation packages,” said Susanna Quagliariello, VFX Wizard srl executive officer. “Now it’s different, when we released the Animation Exchange Link plugin (AE Link) this
year, similar toolsets were announced by industry-leading 3D application developers. There’s for sure a strong demand for this kind of workflow from studios and freelancers alike.”

Evolved from an in-house tool, AE Link is a plugin that allows NewTek’s Lightwave 3D camera export to After Effects, along with seamless sharing of 3D animation data between the applications.

First released in june 2011, AE Link has already been adopted by leading animation studios, universities and artists all over North America, Europe and Asia. More
informations about 3D and compositing integration are available at VFX
Wizard’s website: http://www.vfxwizard.com/.

Contact: Massimiliano Marras
Email: press-graphics@vfxwizard.com

See the original post here: http://www.ibtimes.com/prnews/20110916/camera-export-to-after-effects.htm

New tech makes four-camera 3D shooting possible

9.15.2011

[GizMag]

When it comes to producing 3D TV content, the more cameras that are used to simultaneously record one shot, the better. At least two cameras (or one camera with two lenses) are necessary to provide the depth information needed to produce the left- and right-eye images for conventional 3D, but according to researchers at Germany’s Fraunhofer Institute for Telecommunications, at least four cameras will be needed if we ever want to achieve glasses-free 3D TV. Calibrating that many cameras to one another could ordinarily take days, however … which is why Fraunhofer has developed a system that reportedly cuts that time down to 30 to 60 minutes.  …

Objects that are visible in all four shots are identified using a feature detector function. Using these objects as references, STAN then proceeds to calibrate the cameras so that they match one another. Due to slight imperfections in lenses, however, some discrepancies could still remain. In those cases, the system can do things such as electronically zooming in on one shot, to compensate for the flaws. This can be done in real time, so STAN could conceivably even be used for live broadcasts.

The Fraunhofer team is now in the process of developing a video encoding system, to compress all the data into a small enough form that it could be transmitted using the conventional broadcasting infrastructure. The four-camera setup is already in use by members of the MUSCADE project, which is a consortium dedicated to advancing glasses-free 3D TV technology.

See the full story here: http://www.gizmag.com/stan-calibrates-four-3d-cameras/19831/

A subsequent story is here: http://www.3dtv.com/news-reviews/shooting-footage-for-glasses-free-3d-requires-four-cameras-stan-system-to-make-process-easier.php

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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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