News Stories

LMU pays for student access to online training

9.8.2011

 

[Los Angeles Loyolan]

Wish there was a resource that could answer questions about specific computer programs or software? ….

Lynda.com consists of 1,120 courses and 65,633 tutorials organized by subject, software and instructor. It has a growing library of training courses in areas including 3D, video, business, photography, web design, graphic design and more.

“You will find anything you need to better understand and maximize your software whether you want to fulfill academic assignments, improve job skills or simply want to learn more for personal enrichment,” said Lee.  …

After observing and evaluating numerous online training tutorials, lynda.com was selected by ITS because it could cater to a campus community with varying technological skills, and suffice the needs of both students and faculty.

Additionally, lynda.com has some advantages over other providers including allowing a user to share a movie with other users, downloading the zipped exercise files to work along with the instructor and searching within Closed Caption text.  …

Read the full story here: http://www.laloyolan.com/news/lmu-pays-for-student-access-to-online-training/article_dee32dbc-d9e2-11e0-bd10-0019bb30f31a.html

 

3D Cinema and Television Technology: The First 100 Years Selected Papers on Stereoscopy from the Society of Motion Picture and Television Engineers (SMPTE)

9.6.2011

 

Editors: Michael D. Smith, Peter Ludé and Bill Hogan with Introductions by Ray Zone

This compendium contains over 50 papers published in the SMPTE Journal during the past century. These historic SMPTE papers provide a foundation for understanding the current innovations in 3D stereoscopic areas, including acquisition, content creation, exhibition, distribution, and display technology. Edited by Michael D. Smith, Peter Ludé, and Bill Hogan, the papers in this book contain a wealth of information on the transformation of 3D from its early days of experimentation to current applications in media and entertainment. This book will serve as an important reference tool in any technical library. (Hard Copy)

The following papers appear in the book:

C. Francis Jenkins, “Stereoscopic Motion Pictures”, October 1919
WM. V. D. Kelly, “Stereoscopic Pictures SMPE Transactions”, October 1923
Hermann Kellner, “Stereoscopy and Its Possiblities in Projection”, May 1924
J. F. Leventhal, “The First Use of Stereoscopic Pictures in Motion Picture Theaters”, May 1926
George Lane,  “A Projector for Stereo, Color, and Standard Films”, September 1928

H. E. Ives, “The Problem of Projecting Motion Pictures in Relief”, April 1932
H. E. Ives, “An Experimental Apparatus for the Projection of Motion Pictures in Relief”, August 1933
C. Kennedy, “The Development and Use of Stereo Photography for Educational Purposes”, January 1936
L. Lumiere, “Stereoscopy on the Screen”, September 1936
G. M. Wheelwright, “Possibilities of Stereoscopic Motion Pictures”, December 1937
J. A. Norling, “Three-Dimensional Motion Pictures”, December 1939
J. A. Norling, “Progress in Three-Dimensional Pictures”, November 1941

H. T. Souther, “The Illusion of Depth in Motion Pictures”, April 1946
J. A. Norling, “Light Control by Polarization and the Applications of Polarizers to the Stereoscopic Process”, February 1947
R. V. Bernier, “Three-Dimensional Motion Picture Applications”, June 1951
Raymond Spottiswoode, “Progress in Three-Dimensional Films at the Festival of Britain”, April 1952
Sam H. Kaplan, “Theory of Parallax Barriers”, July 1952
W. Wheeler Jennings and Pierre Vanet, “New Direct-Vision Stereo-Projection Screen”, July 1952
Raymond Spottiswoode, N. L. Spottiswoode and Charles Smith, “Basic Principles of the Three Dimensional Film”, October 1952
Raymond Spottiswoode, N. L. Spottiswoode and Charles Smith, “Basic Principles of the Three Dimensional Film – errata”, December 1952
John T. Rule, “Book Review – The Theory of Stereoscopic Transmission and Its Application to the Motion Picture by Raymond Spottiswoode and Nigel Spottiswoode”, November 1953
H. Dewhurst, “Re: “Basic Principles of the Three-Dimensional Film”, May 1953
Eugene Millet, “Some Geometrical Conditions for Depth Effect in Motion Pictures”, December 1952
Eugene Millet, “Some Geometrical Conditions for Depth Effect in Motion Pictures – errata”, April 1953
L. Dudley and Robert V. Bernier, “Letters to the Editor – Re: Three-Dimensional Motion Picture Nomenclature, and reply”, July 1952
L. Dudley and John A Norling, “Three-Dimensional Motion Picture Nomenclature”, January 1953
Henry Kogel, “SMPTE-Exhibitor Conference on 3-D”, February 1953

John A. Norling, “The Stereoscopic Art (A Reprint)”, March 1953
Henry Kogel, “Reels, Magazines, Spindles for 3-D”, March 1953
Henry Kogel, “Engineering Activities – Film Projection Practice Committee”, April 1953
Mitchell Wolfson, “The Motion-Picture Industry”, May 1953
Armin J. Hill, “A mathematical and experimental foundation for stereoscopic photography”,  October 1953
L. W. Chubb, D. S Grey, E. R. Blout, and E. H. Land, “Properties of Polarizers for Filters and Viewers for 3-D Motion Pictures”, February 1954
W. A. Shurcliff, “Screens for 3-D and Their Effect on Polarization”, February 1954
R. Clark Jones and W. A. Shurcliff, “Equipment to Measure and Control Synchronization Errors in 3-D Projection”, February 1954
D. L. MacAdam,”Stereoscopic perceptions of size, shape, distance and direction”, April 1954
Charles R. Daily, “Progress Committee Report”, May 1954
Edward Levonian, “Stereography and transmission of images”, February 1955
Charles R. Daily, “Progress Report – Stereoscopic Photography section”, May 1955

Bernard G. Saunders, “Resolution in Stereoscopic Projection”, June 1953
Thaddueus R. Murroughs, “Depth Perception: With Special Reference to Motion Pictures – A Reprint”, June 1953
Reuel A. Sherman, “Benefits to Vision Through Stereoscopic Films”, September 1953
Edward Levonian, “Stereography and the Physiology of Vision”, March 1954
Nobuyuki Hiruma and Tadahiko Fukuda, “Accomodation Response to Binocular Stereoscopic TV Images and Their Viewing Conditions”, December 1993

Leslie P. Dudley, “A New Development in Autostereoscopic Photography”, August 1970
Stephen Herman, “Principles of binocular 3D displays with applications to television”, July 1971
Colin Low, “Large Screen 3-D: Aesthetic and Technical Considerations”, January 1984
Lenny Lipton and Lhary Meyer, “A Flicker-Free Field-Sequential Stereoscopic Video System”, November 1984
Ruediger Sand, “New Aspects and Experiences in Stereoscopic Television”, November 1984
M.G. Maxwell, “Three-Dimensional Color Television”, August 1985
Sumio Yano and Ichiro Yuyama, “Stereoscopic HDTV: Experimental System and Psychological Effects”, January 1991
Lenny Lipton, “The Evolution of Electronic Stereoscopy”, May 1991
G. Harris, W. Shaw, M. Dean, M. Hendriks, M. Omidvar, H. Murray and K. Baker, “3-D for the Nineties – A Wide-Field Stereo IMAX Camera”, October 1994
Hirokazu Yamanoue, “The relation between size distortion and shooting conditions for stereoscopic images”, April 1997
Lenny Lipton, “The Stereoscopic Cinema – From Film to Digital Projection”, September 2001

 

This book can be purchased at the SMPTE store here: http://store.smpte.org/product-p/3d-comp.htm

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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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