News Stories

3D Stock Footage of Paris from StereoCorp3D

8.25.2010

StereoCorp3D Introduces StereoShop3D, the First Online 3D Stockshot Service

August 25, 2010

Paris, August 2010 — Providing a comprehensive script‐to‐screen service with a streamlined workflow to shoot and post 3D content, StereoCorp3Dtoday announced the launch of StereoShop3D, allowing customers to search from a growing database of 3D clips from Paris, France and soon Europe.

This new service from StereoCorp3D immediately broadens 3D stock footage opportunities for any project or budget range. It allows content creators to start producing material for TV and film without facing cumbersome challenges of stereoscopic filming. About 15 clips of Paris are already downloadable, and more are to come by the end of the summer.

Available online at www.stereocorp3d.com, these royalty‐free clips are easy to download and priced affordably at $399 per clip through PayPal. Optimized for 50 inches TV‐screen, ready‐to‐use at broadcast quality, the 3D shots last between 10 and 40 seconds and give an exhaustive list of Paris landmarks and monuments in side‐by‐side full HD (1080p) resolution.

StereoCorp3D can provide customization of these 3D shots to fit other screen sizes benefiting from the 4K master resolution and its optimized 3D post pipeline. StereoCorp3D production resources will also be available for on demand filming in Paris, France and Europe.

StereoShop3D is the first 3D stock footage online service based on a collection of footage shot in 4k resolution; using two Red MX cameras with sensors calibrated by Red Digital Cinema for stereoscopic filming. The cameras were equipped with paired Optimo Rouge lenses and Element Technica Quasar rig, to offer the most flexible and efficient set‐up for 3D stock‐shot filming.

“When it comes to 3D stock footage, professionals are looking for the fastest, easiest and most cost-effective solution and yet the equipment and professionals qualified for creating such content are very hard to find,” says StereoCorp3D Co-Founder and President, Arnaud Paris. “The cost of putting together a fully functioning 3D pipeline for production companies is a real challenge and equipment availability is also serious issue. By leveraging our resources into this new service our aim is to help content creators integrating high resolution 3D footage into any kind of program such as TV shows or documentaries”.

“Several years of experience in the 3D business helped us figure out how post-production had to be optimized, for instance by using tools like Scratch for real-time stereoscopic 4k editing. We can now provide this online stock-shot service and therefore participate in the effort of studios and TV-channels to offer this new 3D experience to the audience at the highest quality level.” Some discussions about the challenges and techniques for shooting this content on a large scale will also be discussed on StereoCorp3D’s blog.

link to original post at StudioDaily.com

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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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