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Streambox Releases World’s First Low-Latency Full HD 3D 4:2:2 Encoder at Inter BEE, Tokyo

Integrated Professional Full 3D HD Encoder Delivers High Quality Video Over IP-based networks.

Streambox, Inc. today announced the release of the world’s first low-latency full resolution 4:2:2 HD 3D 1-RU Encoder/Decoder. The Full HD 3D Encoder/Decoder is built on the company’s award-winning ACT-L3 video compression technology, and includes all advanced video and networking features found in existing Streambox professional video products. The compact 1-RU solution is ideal for industries focusing on professional quality 3D video acquisitions, such as post-production, sports broadcasting, and Government/Military. Streambox Full HD 3D video transport solution will be available to order in December 2010.

“The full-frame HD 3D low-latency video compression enables much higher quality 3D video contribution over IP, while reducing bandwidth and transmission costs,” said Bob Hildeman, chairman and CEO of Streambox. “Now, Streambox allows 3D content to be delivered within pre-existing HD bandwidth infrastructures currently being utilized for 2D. Essentially, if you have a 2D HD workflow, Streambox 3D can be implemented without acquiring additional bandwidth or equipment beyond Streambox 3D transport for Full HD 3D video transmission. The Streambox single device solution with full resolution and 4:2:2 color is the only true 3D contribution system on the market.”

Designed for low-bandwidth Full HD 3D video acquisition and transport, the Streambox 3D Encoder/Decoder enables users to capture and transmit live and file-based 3D video over IP networks. The Streambox Full HD 3D Encoder/Decoder will offer robust forward error correction, and bandwidth shaping technologies to mitigate packet loss, network jitter, and buffering. The encoder captures the full-frame left and full-frame right HD 3D video from the source and compresses it into a single synchronized transport stream or file. The single stream is received and decoded by the HD 3D Decoder as full-left and full-right playout, or has the option for side-by-side monitoring.

Streambox Full HD 3D Transport Key Features:
• Full-frame left and full-frame right 4:2:2 or 4:2:0 HD 3D video
• Capture via 3G-SDI or 2xHD-SDI in 1080i, 1080psf, or 720p
• Full HD 3D output via Dual-HDSDI or single 3G-SDI with Genlock
• 5.1 Embedded Audio
• Sub-second end-to-end Full HD 3D capture to playout with an adjustable latency setting
• Optional multiplexing/de-multiplexing of IP stream over multiple networks
• Integrated FEC with proven transmission performance over IP networks
• Compact 1-RU form factor
• Optional file recording and playback in Full HD 3D

Streambox will demonstrate Streambox HD 3D at Inter BEE in Tokyo and the SVG League Technology Summit in New York. Streambox Full HD 3D will be available for purchase December 2010.

More information about Streambox® ACT-L3™ encoding solutions is available online at www.streambox.com.

source: http://www.streambox.com/community/2010/11/streambox-releases-world’s-first-low-latency-full-hd-3d-422-encoder-at-inter-bee-tokyo/

3-D gives vendors headaches (vendor Miranda Technologies’ take on converting infrastructure to 3D)

In this time of broadcaster uncertainty, manufacturers of 3-D production and distribution equipment have been challenged to figure out how to sell their next-generation products to a customer base that doesn’t necessarily want it. At least not right now.

What many manufacturers, such as Miranda Technologies in Montreal, have done is tailor their message to those most interested in launching new 3-D channels by next year. Theoretically, the rest will follow at some point. It’s enough to cause headaches among sales personnel far worse than what some 3-D content elicits.

The first goal of manufacturers is to educate the market about what needs to be done to existing infrastructure to make 3-D broadcasting a reality. Whereas new production tools are required to create the content, legacy servers and automation systems can still be used to distribute it.

“From a production standpoint, 3-D requires new 3Gb/s infrastructure, new cameras, new this, new that and, more importantly, new people in the production suite or mobile production truck,” said Michel Proulx, chief technology officer at Miranda. “3-D is, frankly, only going to be accessible to media giants like Sky, ESPN and Discovery.”

He added that from a playout standpoint, there is no real difference between an HD channel and a 3-D channel. Using frame-compatible techniques, playout centers can air a 3-D channel using the best part of its existing HD infrastructure. A broadcaster simply has fewer channels available on the server to use when distributing 3-D content.

One of the main challenges for vendors right now is to understand the nascent market and develop tools to support it without wasting resources that could be better spent on next-generation HD technology. The question becomes: How much R&D money (percentage) do you dedicate to 3-D at this early stage in its evolution?

“This is a very interesting question,” Proulx said. “Coincidentally, 2010 was the first year that 3-D appeared as a dedicated line item in the R&D budget for three of our four product units. I am not at liberty to say what the actual percentage is in each case; however, I will say that the number is not as high as you might think.”

In the last year, Miranda has modified or upgraded all of the firmware (FPGA programming) or software on its existing HD and 3Gb/s products, including master control systems, routers, multiviewers and signal-processing gear, to accommodate 3-D.

For example, most of Miranda’s infrastructure products support 3Gb/s and HD (1.5Gb/s), which maintains suitability for both full stereoscopic (left and right signals are each HD) and frame-compatible formats (left and right are combined as one HD signal).

All of its Kaleido multiviewers can now provide stereoscopic 3-D monitoring, for both production and playout applications, with the ability to display multiple cameras and programs as 3-D on 3-D displays.

The company’s Densité 3DX-3901 signal-processing card performs all of the necessary conversion to go from full stereoscopic to frame compatible, as well as handling some of the camera alignment issues. And, Miranda’s Imagestore750 master control/channel-branding processor can be used to add downstream graphics on either full 3-D stereoscopic or frame-compatible content.

On the OmniBus side (now owned by Miranda), the iTX system operates as a full playout solution for frame-compatible 3-D with the ability to originate 3-D programs and add downstream branding. Perhaps the most interesting feature of this system has to do with commercial insertion.

“The reality, akin to early HD, is that most of the commercials today are not 3-D at this point,” Proulx said. “The iTX platform detects this situation on a per-clip basis and performs a simple 2-D-to-3-D conversion on the commercials so they, too, are output as frame compatible.”

With most of the R&D work done, Miranda is now extensively teaching existing customers how to use the new tools and waiting for new business to come calling. The problem is that this new business has not materialized because broadcasters are not sure how to make 3-D work within their existing infrastructure. There’s also no clear business model, and broadcasters’ bandwidth is scarce after distributing HD and multiple SD channels. If anything, the emergence of 3-D technology has distracted broadcast customers and perhaps made them hesitant to move ahead with other HD projects. There are still a lot of stations in the United States that are not yet capable of handling HD content.

“Personally, I believe that 3-D is less of a distraction and more of an opportunity for TV engineers to learn new expertise and embark upon new challenges,” Proulx said. “I’d go so far as to say that it has uplifted our customers and provoked new discussions for us to strategize about.”

All of Miranda’s Kaleido multiviewers can now provide stereoscopic 3-D monitoring, while the company’s Densité 3DX-3901 signal-processing card performs all of the necessary conversion to go from full stereoscopic to frame compatible, as well as providing camera alignment adjustments.

by Michael Grotticelli

source: http://blog.broadcastengineering.com/3-D/2010/11/08/3-d-gives-vendors-headaches/

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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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