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Green Tech Round-up: CE Industry Getting Greener

The CE industry made great progress on the green front in 2010. Green technology is more sophisticated and practical, and green initiatives have transformed from gimmicky fringe products to important corporate strategies for the biggest global manufacturers.

Even Greenpeace, which publishes a famously critical report on the electronics industry every January, had good things to say about the progress this year.

Every major manufacturer devoted booth space to green goals and products. The Sustainable Planet TechZone featured the usual range of small companies showing solar panels and chargers and “vampire energy”-preventing power strips.

Some other key developments at CES 2011:

— Improved battery life: Mobile devices are boasting significantly longer battery life, thanks largely to the improved efficiencies of chips like NVIDIA’s Tegra2, Intel’s “Sandy Bridge,” and AMD’s Fusion.
— LED lights the way: LED continues to allow for brighter displays with lower wattage. A few months ago, Philips claimed they had a 42-inch LED display using only 40 watts in a special “eco” mode. On the floor, Westinghouse was showing the 46-inch LD-4655 with LED backlighting using 80 watts in regular mode. Dozens of companies also showcased LED light bulbs for consumer and industrial markets.
— Automotive: Ford announced its first all-electric car, the Focus Electric, and Audi showcased its E-Tron series of hybrid cars.
— Home energy management: Home energy monitors (both devices and apps) abounded at CES. Critics note that greater efforts are needed to enable these “smart” monitors to manage appliances from different manufacturers.
— Energy Star ratings: Despite more stringent regulations in the voluntary Energy Star 3.0 and 4.0 specs that became effective in 2010, there were more Energy Star-rated products at CES than ever before.

Greenpeace and other environmental watchdogs still urge continued collaboration toward solutions in materials sourcing and product lifecycle.

Panasonic leads the way in electronics recycling, having opened 800 US collection sites since 2006, with plans to double that by 2013. The company is a founding member of MRM, the Electronic Manufacturers Recycling Management Company, which includes Mitsubishi Electric, Sharp, Toshiba, and Vizio. They’re hoping to persuade LG, Sony, Samsung, and other giants to jump on board and make e-waste management financially viable for all.

“The value of the materials does not yet cover the cost to recycle them,” said David Thompson, director of Panasonic’s Corporate Environmental Department. “We need to offer real consumer convenience in order to achieve economies of scale to make electronics recycling work.”

Adobe AIR supports Connected TVs

AIR (Adobe Integrated Runtime), the popular app development platform for Internet and mobile devices, has extended its reach to include support for connected television.

Adobe announced that Samsung is supporting AIR across their line of Smart TV’s and it is safe to say that you will see other manufacturers follow suit. With over three million Adobe Flash developers who can use Adobe Creative Suite 5 to author content for AIR for TV, the platform already has a large built-in user base.

AIR 2.5’s cross-platform technology is especially good news for content companies who can re-purpose existing assets to quickly create an app for a movie property that can then be delivered across a spectrum of devices from Internet to mobile to TV.

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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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