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3D TV Network Venture CEO Tom Cosgrove Wants to Build Big Content Library

He says interest from advertisers and distributors is strong, but programming is the main gap the industry needs to fill.

The still-unnamed 3D TV network joint venture of Sony Corp., Discovery Communications and Imax, which is set to launch early next year, plans to build up the biggest 3D content library in the world, president and CEO Tom Cosgrove said Tuesday.

Appearing at the Piper Jaffray Technology, Media & Telecommunications Conference, he also discussed what he called surprisingly strong advertiser interest, predicted that TV distributors may down the line introduce a 3D tier and forecast that it will take years until 3D technology will work without glasses.

Discussing content strategy and needs, Cosgrove said his team is planning to have several hundreds of hours of content available next year.

Much of that is being commissioned or co-produced, but also acquired from third parties or contributed by the three partners. The network recently made its initial programming announcement.

Movies will play a smaller role than other type of content on the network, he said. Cosgrove also highlighted that there isn’t much great 3D content available right now, but quality is key. “If it’s not great, it’s god-awful,” and the network will focus on high quality programs, he emphasized.

Cosgrove said his team wants to use 3D to get people more immersed in a story, and he predicted that this approach would over time lead to dramas and comedies also being produced in 3D.

And he said he would love to see news stories from far-away war and conflict zones, such as Afghanistan, in 3D to draw people in.

Asked about interest in the planned channel from marketers, Cosgrove said “there has been a lot of interest from advertisers,” so much so that he felt it was “somewhat surprising.”

His explanation: “I think they just want to be part of the cutting edge.” Not only do marketers realize that they can showcase products in new ways in 3D, but they can also reach an appealing early adopter audience, he argued.

The network venture is talking to all distribution companies about carriage deals as all major cable and satellite TV players are looking to enhance their offers to consumers. Cosgrove said he expects “this will be a value-added proposition” in the early days and then go to a 3D tier once more 3D channels become available.

But he told investors not to expect that TV viewers will be able to watch without glasses any time soon. “Glasses-free is probably quite a few years off,” he said. “We’re in a glasses world for a while.”

But Cosgrove said early adopters in the next year or two won’t mind that at all.

Instead of the glasses, the main issue that has consumers on the fence about 3D TV so far is a lack of broad availability of content, he argued. “That’s the big gap that has to be filled,” Cosgrove said.

by Georg Szalai

source: http://www.hollywoodreporter.com/news/3d-tv-network-venture-ceo-43468

Watch Avatar in Stereo 3D With James Cameron’s Preferred Settings

(Phil Lelyveld question: Do you think this will attract or scare away potential 3DTV buyers? Please comment)

Panasonic has made available a special page, dedicated to providing James Cameron’s Preferred Settings for watching Avatar in 3D on a Panasonic 3D HDTV and these settings take advantage of the “Advanced (isfccc)” mode that the television sets have. This initiative is due to the fact that the company is bundling their line of Viera 3D-capable Plasma HDTVs along with a Blu-ray 3D version of the movie Avatar, an exclusive deal that probably will delay further the availability of the movie as a standalone product. And I’m curious if these settings are recommended just for watching Avatar, or they will be good for watching movies in general… I will have to try them and compare to the default THX settings for example when I start testing my new Panasonic VT20E HDTV, although I do not have Avatar on Blu-ray 3D yet 😉

Here are the recommended settings from James Cameron for Avatar 3D (for European TVs)…

Switch “Advanced (isfccc)” to ON.

Set the “Viewing Mode” to “Professional 1″.

Set the “Contrast” to “48″.

Set the “Colour” to “33″.

Set “White Balance” to the following values:

– Move the scale of “R-Gain” 10 times to the right.

– Move the scale of “G-Gain” 8 times to the left.

– Move the scale of “R-Cutoff” 2 times to the right.

– Move the scale of “B-Cutoff” 1 time to the right.

Set “Colour Management” to the following values:

– Move the scale of “R-Hue” 3 times to the right.

– Move the scale of “G-Hue” 4 times to the left.

– Move the scale of “R-Saturation” 3 times to the right.

– Move the scale of “G-Saturation” 11 times to the right.

– Move the scale of “B-Saturation” 8 times to the right.

Set “Gamma” to “2.4″.

Switch “24p Smooth Film” to OFF.

Switch “3D 24p Film Display” to OFF.

– To visit the official James Cameron’s Preferred Settings page on Panasonic’s website…

– To visit the official James Cameron’s Preferred Settings for Asia on Panasonic’s website…

source: http://3dvision-blog.com/watch-avatar-in-stereo-3d-with-james-camerons-preferred-settings/

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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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