News Stories

3D bees by Nayade

11.18.2010
Nayade (Angoulême, France) is shooting a short documentary about bees for the Micropolis museum. Nayade already produced « Le Mystère de la note bleue », actally visible at the Futuroscope (Poitiers, France)
Yannick Viollin is shooting with a home made mirror rig fitted with two HDV Canon XLH1 cameras.

Nayade is here on the web (in French). Read the paper here (in French) in SudOuest.

source: http://stereoscopynews.com/hotnews/3d-movies/3d-shorts/1052-3d-bees-by-nayade.html

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Tournage 3D ou Prise de vue relief
La prise de vue stéréoscopique impose de capter deux images « parallèles ». La solution la plus simple consiste à positionner nos caméras côte à côte comme sur la photo ci-contre, nous nommerons ce montage parallèle. L’encombrement du corps des caméras dans l’exemple d’un ensemble de 2 caméras Canon HDV XL1 montées en parallèle nous permet un écartement minimum de 15 cm. Les divers essais et expériences de prise de vue faites en relief à ce jour, montre que l’écart doit être en moyenne de 2 cm pour 1 objet distant de 1 mètre par rapport à l’objectif.
Donc nous avons besoin d’une possibilité de réglage pouvant naviguer entre la valeur 0 à 15 cm, à partir de 15 cm nous pouvons raisonnablement pas filmer des objets ou des personnes distants de moins de 8 mètres par rapport aux caméras.
Il existe des prototypes « batis stéréoscopiques » qui permettent de tourner en relief.
Pour les faibles écartement, ce bati consite en un système permettant de positionner une caméra à l’horizontale et l’autre caméra à la verticale. Un système de miroir semi-transparent permet de renvoyer l’image sur la deuxième caméra. En France, Alain Derobe a fabriqué plusieurs systèmes reliefs utilisant ce principe, le même procédé est en usage dans plusieurs pays au monde. Selon le degré de sophistication du bati, différents réglages sont possibles.
source: http://www.nayade.com/index-module-orki-page-view-id-21.html

Volfoni and Proyecson join forces to market 3D active glasses for theatres (France, Spain, beyond)

11.18.2010

Volfoni SAS, the Paris-based provider of active 3D eyewear, and Proyecson S.A, the leading digital cinema integrator in Spain, announced today that they have join forces to respond to the high-growing demand for 3D active glasses in the cinema market. As a result, a joint-venture has been created under the name of “Volfoni AEIE” which combines Proyecson international distribution network and Volfoni technological know-how.

Located in Valencia, Spain, Volfoni AEIE will mainly address international professional markets other than French/German speaking countries and North America which are already served through our offices in Paris, Munich and Los Angeles.

EDGE™, the first 3D active glasses made by Volfoni will be amongst the products offered by the new entity. Already very successful worldwide, EDGE™ benefits from the latest ergonomic innovations and technologies created and designed by Volfoni.

EDGE™ will be soon followed by other advanced products developed by our R&D team located in the South of France and dedicated to the home entertainment market.

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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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