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iPONT Unveils Industry’s First 3D Cloud-Based Content Management Service

iPONT Takes Glasses-Free 3D Digital Signage From Concept to Real-World Application

Businesses that deliver digital, out-of-home advertising to consumers can now create 3D content centrally and distribute it quickly and easilywith the new iPONT Network Content Manager System (NCMS) from iPONT International.

The only scalable 3D cloud-based content management service for digital signage applications, theiPONT NCMS helps manage networks from anywhere in the world, with training and support included for the subscription period.

“Digital out-of-home advertising is without question the digital signage market segment where 3D adds the most value,” said Dale H. Maunu, Editor and Analyst, Insight Media. “Although digital out-of-home advertising currently represents only a small percentage of the $160B US advertising marketplace, 3D without glasses-and its ability to impact consumers-is poised to reshape the advertising landscape.”

Attendees who visit the iPONT booth at the 2011 Digital Signage Expo (DSE) this week will experience first-hand the impact of glasses-free 3D in out-of-home advertising and entertainment. The company-a creator, converter and distributor of glasses-free 3D technology-designed NCMS for locations such as malls, airports, convention centers and sports arenas.It is also ideal for businesses offering avisual entertainment experience, including cinemas, sports bars, amusement parks and casinos.

“One absolute requirement for successful digital out-of-home 3D is that the displays and content do not require glasses,” said Glen Harper, President, iPONT USA. “According to our surveys, glasses-free 3D digital signage is 15 times more efficient than traditional 2D displays and maintains the viewer’s attention five times longer.

iPONT can offer a full range of multi-view displays with its solution, from 24-inches to 65-inches (including portrait), without the need for any kind of glasses.

Additional NCMS features include:

Web-based content and display management and scheduling

5/8/9 view handling for 3D-produced content

Real time text input

Landscape and  portrait modes

Intuitive content and user management interface

Scalability for small and large display networks

Easy and intuitive setup in less than one minute

Content anduUser permissions administration

Online preview of content

Ease of updating playlists

Screenshot previews of content

Proof-of-play and uptime statistics

Content upload possibility via USB pendrive for displays without internet connection

Reporting and statistics generation, gathering proof of play and uptime confirmation

Upcoming stereo content compatibility

iPONT DS Player Box, which is a bundle of hardware and player software, with the following capabilities: 3G, wifi, LAN and auto reboot

iPONT also offers a 3D content creation software package for 3D studios, including plug-ins for Autodesk 3ds Max®, Maxon Cinema 4D®, Adobe After Effects®, and an additional Offline Stereo to Autostereo Converter and a Stereo 3D Field Corrector.

iPONT will demonstrate its capabilities-including movie trailers and its own studio creations-on the industry’s largest portrait 3D screen at booth #2205 at DSE 2011 at the Las Vegas Convention Center from Feb. 22-25.

For more information, visit http://www.ipont.com .

See the original press release here: http://www.msnbc.msn.com/id/41715893

3D Free Viewpoint Video in Sports Stadium

(Philip Lelyveld comment: they extract the players and ball from the background, then perform free viewpoint mapping of the players onto a model of the stadium.)

KDDI R&D Laboratories has developed the world’s first technology for synthesizing and displaying 3D video of stadium sports in real time, from any angle chosen by the viewer. This technology was exhibited at CEATEC JAPAN 2010.

“Until now, the viewing angle for live soccer has only been changeable by switching between camera positions. This technology provides a new video experience, by offering views from angles where cameras can’t be installed, such as the middle of the pitch or in the air.”

“This screen shows the stadium as seen by eight HD cameras, and these are synthesized pictures from places where cameras aren’t installed, including aerial views, and shots from in among the players. On the other hand, this screen shows pictures from a single high-resolution camera, of the sort used for 4K rather than HD. This system creates pictures from any angle chosen by the viewer. Because the camera has such a high resolution, there’s relatively little loss of picture quality even if it zooms right in among the action.”

This technology uses a unique method to enable high-speed estimation of players’ positions on the field in 3D. It utilizes the fact that when soccer is broadcast, the image consists simply of players and a background.

“What viewers mainly want to see is the players. So we thought of technology for synthesizing pictures that look natural, by cutting out just the parts with players, and putting them against a plane. Then, the plane is transformed, in line with the direction or angle the viewer has chosen. The pictures you’re seeing now are being synthesized in real time using a single PC. So if you have a PC at home, this kind of 3D processing can be viewed immediately on a 3D TV.”

KDDI has also developed server technology that stores stadium 4K video content taken from many angles, then extracts and delivers pictures at high speed with low processing load. This achieves a real-time delivery system for pictures from any angle chosen by the viewer.

See the original post here: http://www.diginfo.tv/2010/10/19/10-0211-r-en.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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