News Stories

NAB: DVS Atomix delivers high-resolution 3D images from SD to 4K

[by DVS]
Atomix: the ultimate hardware board for highest resolutions

With Atomix, DVS unveils a new line of cutting-edge video boards. It supports every resolution from SD to4K in real-time. Moreover, Atomix handles 2K stereoscopic material as well. With the diversity and flexibility of its feature range, the powerful DVS hardware complements any software solution. Atomix enables the play-out of uncompressed 4K in real-time with an up- and downscaler for format changes and uses 3D LUTto suit high-end film post production and presentations. Furthermore, key features include capture and play-out via dual-link 3.0 Gbps SDI, real-time 1D LUT, 16 embedded audio channels along with 16 AES/EBUchannels.

See the original post here: http://www.dvs.de/products/video-boards/atomix.html

 

3-D Models Created by a Cell Phone

[Philip Lelyveld comment: this is 3D modeling by compositing images that can be used in stereoscopic 3D, not direct stereoscopic 3D visualization.]

[BY TOM SIMONITE, MIT Technology Review]

Capturing an object in three dimensions needn’t require the budget of Avatar. A new cell phone app developed by Microsoft researchers can be sufficient. The software uses overlapping snapshots to build a photo-realistic 3-D model that can be spun around and viewed from any angle.

“We want everybody with a cell phone or regular digital camera to be able to capture 3-D objects,” says Eric Stollnitz, one of the Microsoft researchers who worked on the project.

To capture a car in 3-D, for example, a person needs to take a handful of photos from different viewpoints around it. The photos can be instantly sent to a cloud server for processing. The app then downloads a photo-realistic model of the object that can be smoothly navigated by sliding a finger over the screen. A detailed 360 degree view of a car-sized object needs around 40 photos, a smaller object like a birthday cake would need 25 or fewer.

If captured with a conventional camera instead of a cell phone, the photos have to be uploaded onto a computer for processing in order to view the results. The researchers have also developed a Web browser plug-in that can be used to view the 3-D models, enabling them to be shared online. “You could be selling an item online, taking a picture of a friend for fun, or recording something for insurance purposes,” says Stollnitz. “These 3-D scans take up less bandwidth than a video because they are based on only a few images, and are also interactive.”

To make a model from the initial snapshots, the software first compares the photos to work out where in 3-D space they were taken from. The same technology was used in a previous Microsoft research project, PhotoSynth, that gave a sense of a 3-D scene by jumping between different views (see video). However, PhotoSynth doesn’t directly capture the 3-D information inside photos.

“We also have to calculate the actual depth of objects from the stereo effect,” says Stollnitz, “comparing how they appear in different photos.” His software uses what it learns through that process to break each image apart and spread what it captures through virtual 3-D space (see video, left). The pieces from different photos are stitched together on the fly as a person navigates around the virtual space to generate his current viewpoint, creating the same view that would be seen if he were walking around the object in physical space.

“This is an interesting piece of software,” says Jason Hurst, a product manager with 3DMedia, which makes software that combines pairs of photos to capture a single 3-D view of a scene. However, using still photos does have its limitations, he points out. “Their method, like ours, is effectively time-lapse, so it can’t deal with objects that are moving,” he says.

3DMedia’s technology is targeted at displays like 3-D TVs or Nintendo’s new glasses-free 3-D handheld gaming device. But the 3-D information built up by the Microsoft software could be modified to display on such devices, too, says Hurst, because the models it builds contain enough information to create the different viewpoints for a person’s eyes.

Hurst says that as more 3-D-capable hardware appears, people will need more tools that let them make 3-D content. “The push of 3-D to consumers has come from TV and computer device makers, but the content is lagging,” says Hurst. “Enabling people to make their own is a good complement.”

Read the original story here: http://www.technologyreview.com/computing/37021/?nlid=4264&a=f

 

< PREVIOUS ARTICLES NEXT ARTICLES >

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.

Oops, something went wrong.