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Putting 3D content on YouTube (tech instructions)

2.10.2011

You can now create 3D content on YouTube. In order to create a 3D video, follow the tips listed below.

Putting 3D content on YouTube

YouTube supports 3D video from several different sources. Depending on the way that you recorded the video, you’ll have to follow different steps. If it doesn’t quite work, or look right, try another method.

I have a 3D camera, camcorder, mobile phone, or gadget:

If you’ve got one of these devices, it may produce video in a variety of formats. YouTube supports a few different formats for 3D video. Check the instructions for your 3D recording device to determine which format your device outputs. Once you’ve identified what format the device supports, you’ll have to add the appropriate tag for your device. By adding the right tag, YouTube can determine what format the video is in, and how to display it properly.

If your video format is:

Side by side “half” or “squashed”:

Add the tag yt3d:enable=LR to your video

If the video displays incorrectly or has a poor 3D effect, try changing it to yt3d:enable=RL

Top-bottom “half” or “squashed”:

Add the tag yt3d:enable=LonR to your video

If the video displays incorrectly or has a poor 3D effect, try changing it to yt3d:enable=RonL

I am using two cameras, or two originals to record 3D video:

In order to upload a 3D video to YouTube from two original videos:

In your video editing software on your computer, combine the two videos into a single frame. This provides content for each eye and produces the 3D effect.

For best results, the combined image from the two videos should be in 16:9 resolution. However, keep in mind that the resulting aspect ratio will be the size of the video. So, if you upload a 4:3 aspect ratio video, keep the new aspect ratio the same.

4:3 Upload:                                                         16:9 Upload:

Once you’ve formatted the video to these requirements in your video editing software, upload the final version of the video to YouTube. See this Help Center article for recommended file formats.

While the video is uploading, or after the upload is complete, edit the video and add the tag yt3d:enable=LR.

I have content that’s already recorded in a particular format:

YouTube recommends that you upload video in side-by-side squashed Left/Right. We also currently support the following formats:

yt3d:enable=LR: Side by side squashed left eye frame on left, right eye on right – recommended

yt3d:enable=RL: Side by side squashed, right eye frame on left, left eye frame on right – old format but no longer recommended

yt3d:enable=LonR: Top frame is left eye, bottom frame is right eye

yt3d:enable=RonL: Top frame is right eye, bottom frame is left eye

Note, we no longer support these tags and they should not be used:

yt3d:enable=true

yt3d:swap

yt3d:left

yt3d:right

yt3d:aspect

Quick tips for great 3D content:

  • Making content with two cameras? Use two of the same camera model in order to easily match the two images (which will produce your 3D video).
  • Secure both cameras on a single solid mount to simplify matters and avoid camera shake. You could try using a small metal bracket (found in hardware stores).
  • Objects in the same position in both frames will appear in the plane of the screen. If you pan too far towards the user this breaks the 3D effect.
  • Try and use Left Right Side by side format as you will get the greatest device support.

See the original post here: http://www.google.com/support/youtube/bin/answer.py?hl=en&answer=157640

Sterolabs Introduces new 3D real time Image Processor

2.7.2011

Sterolabs, a French-based developer of advanced Stereo3D technology for the broadcast industry, has launchedPURE, a 3D HD live production system.

Designed for studio and mobile 3D production, PURE features automated alignment of stereo images, correcting lens, sensors and geometric mismatches directly on-set. The system also provides realtime 3D monitoring, convergence adjustments, and a range of tools to help producers and stereographers control their 3D depth during shooting.

“Stereoscopic 3D production is a formidable challenge. Broadcasters and content creators need powerful and flexible tools that simplify their 3D workflows”, said Edwin Azzam, chief executive officer of Stereolabs. “By bringing PURE to the market, our goal is to deliver the best quality footage possible, while making the creation process much quicker and cost-effective for the studios.”

The PURE solution will be showcased at the British Video Expo (BVE) booth L18. The BVE is held at Earls Court 2, London, UK, Feb. 15-17.

See the original post here: http://tvtechnology.com/article/113324

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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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