News Stories

D Content Providers Await Higher 3D TV Set Penetration

8.17.2010

IMS Research

August 12, 2010

As the dust settles from the hype around the World Cup in 3D, production companies and service providers around the world continue to explore the opportunities of 3D video in the home. In a recently published study on 3D, IMS Research identifies that by the end of 2010, over 50 broadcasters and pay-TV operators will be offering 3D services to the home.

Similar to theatrical 3D film releases, production of 3D content specifically for home consumption will see a significant increase over the next few years. Anna Hunt, report author and principal analyst at IMS Research, states, “Although right now there are only a few select operators and networks that have the resources to create and deliver a compelling 3D offering, most leading service providers and broadcasters around the world are considering how to enhance their premium offerings by incorporating 3D.” A survey of broadcasters and operators published in the study 3D Video & Gaming in the Home revealed that 75% of the companies surveyed plan to test or offer 3D over the next 18 months, out of which 20% have already launched 3D in some capacity.

Hunt adds, “Increased adoption of 3D TV sets into homes will further propel investment in 3D content production. Currently, low penetration of 3D-capable displays in consumers’ homes is a leading concern of surveyed service providers, followed by lack of standardized 3D formats.” IMS Research forecasts that by the end of 2014, 9% of worldwide TV households will have a 3D TV set. Penetration is expected to be much higher in the US, where 40% of TV homes at the end of 2014 are forecast to have a 3D TV.

Stereo 3D Filmmaking BootCamp, NewMediaWebinars.com

8.17.2010
Stereographic filmmaking is the newest craze in Hollywood, in spite of the fact that 3D has been around almost as long as conventional cinema. Shooting a 3D film has become much more accessible in these days of digital video, miniature cameras and affordable digital editing systems.
In this webinar, presented by award winning IMAX cinematographer James Neihouse, you will learn the basics of 3D/Stereo cinematography, beginning with the terminology then stepping though the process and methods of shooting in 3D. You will learn about 3D rigs, setting up the cameras, the effects of interaxial distance (the distance between the lenses), convergence of the cameras, screen size, and 3D editing techniques.

Stereographic filmmaking is the newest craze in Hollywood, in spite of the fact that 3D has been around almost as long as conventional cinema. Shooting a 3D film has become much more accessible in these days of digital video, miniature cameras and affordable digital editing systems.
In this webinar, presented by award winning IMAX cinematographer James Neihouse, you will learn the basics of 3D/Stereo cinematography, beginning with the terminology then stepping though the process and methods of shooting in 3D. You will learn about 3D rigs, setting up the cameras, the effects of interaxial distance (the distance between the lenses), convergence of the cameras, screen size, and 3D editing techniques.

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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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