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Digital production company Projekta has created what it claims is Australia’s first live action 3D cinema ad

Projekta creates 3D cinema ad for Tourism Northern Territory

Sydney, Australia, 22 November, 2010 – Digital production agency Projekta has created Australia’s first live action 3D cinema advertisement for Tourism NT to be showcased on the big screen from December 2. While previous 3D advertisements have been made by converting 2D into 3D or by using animation, Projekta have created a unique live action 3D experience with equipment used in the blockbuster 3D movies Avatar and Sanctum. Simon Thomas, co-founder of Projekta said, “We’re thrilled to deliver an exclusive 3D experience for Australian audiences. It is fantastic to continue our work with Tourism NT and this was an exciting project for us. Using expert technicians, the best 3D equipment and our creative drive, we were able to capture the spectacular landscapes and environments of the Northern Territory and create 3D advertising never before seen in Australia”. Shot by world renowned 3D cinematographer Jules O’Loughlin, the 3D images were captured in some of Australia’s most spectacular locations, flying through the Top End’s gorges and over waterfalls in helicopters and across the wetlands by airboat. The focus of the advertisement was to replicate the real-life experience of what it is like to visit the Northern Territory through emerging 3D technology, creating an emotionally compelling desire to visit the Northern Territory, “Shooting in 3D allowed us to truly capture the extent and breadth of the massive escarpments and towering gorges and waterfalls so our audience can connect with the drama of the Territory’s unique landscapes. We are delighted with the end result produced by Projekta and are grateful for their commitment to producing the commercial to the highest of cutting edge technical standard,” said Monika Tonkin, Manager of Consumer Marketing, Tourism NT. Tourism NT has also partnered with Panasonic to display the 3D content on their Viera 3D Televisions. A combination of traditional rig type 3D cameras and Panasonic’s revolutionary twin-lens 3D cameras were used to shoot the footage. source: http://mumbrella.com.au/projekta-creates-3d-cinema-ad-36475

China’s First Attempt of 3D Sports Broadcastin

TCL Delivers 3D Filming of Asian Games

On November 21, TCL kicked off its experimental 3D filming of Asian Games events and debuted a 3D viewing of soccer matches to the general audience. TCL, the official partner of Guangzhou 2010 Asian Games, screened 3D filming of two Asian Games soccer matches: China vs. South Korea and Kuwait vs. United Arab Emirates. This is the first time that 3D filming of sports matches was introduced — not only in China but in the history of the Asian Games — a monumental progress for 3D-TV technology.

TCL has established a world-class filming and production team staffed with over twenty professional directors and technical experts from the U.S., South Korea and China to shoot and produce 3D videos featuring some of the sports matches and Guangzhou’s cultural landscape. These videos will be shown on TCL’s 3D-TVs in the Asian Games stadiums and venues.

Supported by the State Administration of Radio Film and Television and the Ministry of Science and Technology, the Asian Games is a platform to showcase 3D-TV technology, boost China’s technological influence in the 3D-TV sector, promote industry developments, and enhance the popularity of the Asian Games via 3D-TV. TCL is the only company from the TV industry to delve into experimental 3D filming during the Asian Games.

QC Liang, General Manager-Branding of TCL Corporation, said, “The 3D filming of sports events at the Asian Games indicates that we are ready to launch into the new arena of live 3D broadcasting during sports matches. TCL hopes to deliver a new visual experience to audiences through its advanced 3D technology. To promote the growth of the 3D-TV industry, TCL, the main initiator of China 3D Industry Association (C3D), actively supports and participates in the commercialization of 3D and video standards with independent intellectual property rights, such as AVS, CBHD and DiiVA.”

As one of the only companies in the world that delivers products powered by three 3D display technologies, TCL boasts leading technical advantages in the field of 3D-TV. In addition to the commercialized 3D autostereoscopic TV, TCL also launched 3D shutter glass and 3D pattern retarder LED Internet HDTVs. The TCL P10 series boasts the world’s largest 65-inch 3D Internet TV screen. In terms of content creation, TCL 3D-TVs feature multi-view content production, and 3D CG software or live filming and enable the seamless switch between 2D and 3D content.

On September 19th, 2010, the State Administration of Radio Film and Television announced that its agencies are developing China’s 3D-TV standards and plans to launch a trial 3D-TV broadcast next year. Internationally, only a few TV stations such as ESPN and Sky provide 3D broadcast services to audience. It’s expected that 3D-TV technology will enable the 3D filming at the Incheon Asian Games in 2014.

Industry experts say that 3D-TV technology is representative of the advanced technology used at the Guangzhou 2010 Asian Games and their placement in various venues will promote interest in 3D-TVs among normal consumers. As the only manufacturer participating in this 3D filming project, TCL is looking forward to the future development of expanding the reach of 3D technology. During the Guangzhou Asian Games, TCL 3D-TVs will showcase 3D Asian Games demo videos in the Main Press Center, the International Broadcast Center, the Garden Hotel and other main venues of the Games.

source: http://www.sys-con.com/node/1624217

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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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