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Growing Business: Monetising and Delivering 3D Content Through the Cloud

[Excerpt]

The Business of Professional 3D Video

Closing the loop between 3D video production and 3D video viewing has historically been arduous and expensive, catching the market in a predicament where the fundamental questions were difficult to answer – until today:

Q: Is there enough high-quality 3D content available to propel a technology boom?

A: Absolutely. From large commercial movie studios making millions upon millions in summer blockbusters, to independent studios, to anyone with a 3D video camera, there is a massive amount of 3D video being created. The question becomes, ‘How do I get my content everywhere?’

Q: Is the available technology advanced enough to create a compelling 3D experience?

A: Yes. With game-changing films such as Avatar, the waters have been successfully tested. It has been demonstrated how a rich 3D experience can enhance storytelling and drive huge box-office sales.

Q: Who can afford the proper 3D equipment in an embattled economic climate when HD just became mainstream?

A: Like any technology, with maturation comes a drop in price point. While top-of-the-line 3D video cameras are readily available, so are inexpensive devices at your local retailer. Even smart phones and tablets are becoming 3D enabled, with the ability to shoot and view 3D video. Major hardware manufacturers have already delivered mainstream technology to the market at low price points, breaking the barriers to entry.

Users only need a 3D-enabled device and 3D glasses if required. The next step is identifying a ‘future-proof’ 3D platform for monetisation, and customer-facing functionality, ensuring that the following key functions are addressed:

• Cloud-based video upload, ingestion, transcoding and storing.
• Cloud-based 3D frame packing and management.
• Digital Rights Management.
• Bandwidth detection and adaptive bit-rate streaming.
• Custom CMS and web portal support.
• Video on demand and eCommerce functionality.

Time-line of 3D Films

[Philip Lelyveld comment: this is a really good single webpage giving the history of 3D, with pictures.]

Whether you love them or walk out of a movie theater with a headache, Hollywood has been pushing 3D films on moviegoers for the last several years. In fact, in 2010 three of the four largest grossing films were in 3D. With that kind of money there’s no doubt that the 3D fad probably is here to stay. Further proof of this are TVs with 3D capability currently on the market. However, 3D is anything of a new technology, if you grew up in the 80′s you should be able to recall the many horror films that were in 3D. But what’s astonishing is that this technology has been around for well over a century.

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See the full history here: http://amog.com/tech/101395-timeline-3d-films/

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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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