News Stories

Is it possible for the arts to push digital media?

8.15.2011

[Excerpt from The Beacon Herald (UK)]

We hear a lot about how digital media is affecting newspapers, television, even movies. Is digital media also affecting the performing arts? Or are the performing arts pushing digital media?

Artists and academics are pushing technology in new ways to augment their performances. As early as 2008, the drama department at the University of Waterloo was undertaking a couple such experiments.

In partnership with the University of Central Florida and Bradley University in Peoria, Ill., the University of Waterloo produced a new show with an old story — Alice Experiments in Wonderland. The show featured a high-speed connection (as much as 150Mbit/s), 2D and 3D sets, and simultaneous live theatre in three locations.

Thirty-three cast members in three different locations with different sets and audiences presented a few challenges including DVTS (digital video transport systems) connectivity, echo compression, sound and video transfer issues. But the three universities’ networking departments worked together to use more bandwidth and computing power to successfully broadcast at peak sustained broadband usage during the entire length of the show. Using existing video conferencing technology in a novel way created an opportunity for theatres all around the world to affordably replicate the experience. …

This September, an international community of cultural enthusiasts — including artists, academics, creators and developers — is coming to Stratford to explore how the performing arts are pushing the uses of digital technologies and shaping innovative artistic experiences. Through workshops, seminars and performances integrating digital media technologies, sessions will explore the limitations and challenges of arts and media, but also the opportunities.

…

The Challenging Digital Media: The Performing Arts conference is presented by the University of Waterloo Stratford Campus Sept. 28-30, 2011, in partnership with the Stratford Shakespeare Festival and the National Arts Centre. For more information, go to challenging digitalmedia.zerista.com.

Twofour54 Intaj launches MENA region's first stereoscopic 3D lab

7.20.2011

[Philip Lelyveld comment: this is a story about a regional resource]

[Excerpt]

Twofour54 Intaj launched the Middle East and North Africa (MENA) region’s first stereoscopic 3D lab, making it the only facility of its kind in the Middle East to offer dedicated facilities, equipment and expert support across the third dimension.

…

The new lab has been designed to become a hub for all stereoscopic 3D activities in the region; providing end-to-end production solutions in stereoscopic 3D – from cameras, rigs, specialist AVID edit suites, Baselight colour grading – through to finished productions and a specialised Research & Development Centre. 

In addition to the state-of-the-art facilities and services, the new lab will provide a range of training solutions in conjunction with media training academy Twofour54 Tadreeb. The programmes on offer have been designed to comprehensively train both students and production professionals in the latest 3D techniques using the very latest in high-tech equipment and will be delivered by Twofour54 Tadreeb’s highly trained instructors.

…

Read the full story here: http://www.ameinfo.com/271107.html

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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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