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First International Real 3D Technology Forum Concludes in Seoul, Korea

[BY NICK DAGER, IndieFilm3D]

The first International Real 3D Contents Technologies Forum opened May 12 in Seoul with great fanfare. Hosted by the Korea Creative Content Agency and organized by the Korea Real 3D Contents Producers Association, this forum was held for two days in Seoul and Busan. Many leading manufacturers and 3D experts from America and China were present along with 300 distinguished guests to see the flow of the 3D market as well as its technological development.

Pictured, left to right, Xiaolin Yan, chairman of C3D; Kim Tae-sub, chairman of KDC Group; Christopher Crescitelli, founder of 3DFF.

Before the forum opened, Kim Tae-sub, chairman of KDC and the Korea Real 3D Contents Producers Association delivered a keynote speech. Chairman Kim said, “3D is not new anymore and there are some obstacles to overcome with 3D. In order to develop the industry, I personally think standardization of 3D is needed the most, along with creative storytelling and human respected technologies.” He said that with the integrated standard, Korea, China and America should work together to develop the 3D industry and it is very meaningful that Korea leads the first international solidarity.

Christopher Crescitelli, founder of the 3D Film and Interactive Festival and CEO of the Dream Factory Studio said, “We are here to mandate that you create only high quality and entertaining 3D content that can be enjoyed by all markets and people around the globe.” He continued by saying, “This forum will feature informative and inspirational discussions and explorations into this amazing new 3D industry, which aims to continue its pattern of growth and prosperity for everyone involved in its successful delivery and execution to all platforms.”

Xiaolin Yan, chairman of China 3D Industry Association said, ” Korea, China, and America needs to work closely for 3D content technologies, and he also wished that the forum be crowned with complete success with the 3D content technologies in Korea.”

Meanwhile, the kick off ceremony for Global Real 3D Association carried on. This international solidarity is composed of three countries, Korea, China and America and those three countries are expected to work closely for sharing technical information and establishing a standard in 3D.  Later on, about eight other nations such as, Japan, Germany, and England are expected to join the Global Real 3D Association.

Prominent speakers at the forum included Alex Cho, vice chairman of the Korea Real 3D Contents Producers Association, Hu Bo, president of Shandong Miracle Pictures Canada Longevity Intl. Enterprise Group, Paul Taylor, stereoscopic producer and David Franks, stereographer of Stereo D.

Cho talked about the manufacturing technology and trends of stereoscopic 3D content. He explained all the basic information about producing 3D content and related technology trends. Vice president Cho said, “The standardization on 3D content is urgently needed.” He also strongly suggested that existing filmmakers and writers are required to learn about 3D production technologies for 3D content development.

President Hu Bo, stressed the cooperation between Korea, China and America. “Korea has wonderful hardware, China has a big market, and America, Hollywood has contents. We need to work together for 3D content development.” He continued, “I think Korea has a bright future ahead in 3D content development.” He also suggested to Korea that to produce creative content in many different languages is the key for Korea to develop its 3D industry.

Taylor talked about Overview of 3D Production. The question that people frequently ask to him is “Do you think 3D is going to stick around this time?” His answer is not surprisingly, yes. For so long, 3D was a very lonely business as it comes and goes. However, he thinks it will be different this time due to the financial commitment, which we didn’t have before. “3D should resonate with images and storytelling to create a powerful and immersive feeling unlike any audiences have ever experienced before,” he concluded.

Lastly, Franks had a presentation about stereo 3D editing and post-production. “I don’t personally think every content will be produced in 3D but, 3D will offer lots of variety and fun to audiences.” He also said that delivering the image realistically and comfortably to the viewers is the key in 3D post-production. For better work, production, editing, visual effects, depth balancing and mastering for deliverables are things to care about.

 

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Conference: ConnectedTV and 3D: Supplying the Demand

MEMO TO: TV Technology Readers

Fewer and fewer people watch TV on TV. They’re watching it on a computer, on a smartphone or on a tablet computer, while they watch Internet or 3D content on TV. The television industry is scrambling to keep up. Content providers want to be everywhere, but they also want to be paid. Video distributors are under pressure to keep extending their platforms and deliver programming anywhere, anytime. It’s the new frontier, and there’s no sheriff.

There are, however, those intrepid explorers on the forefront of Connected and 3DTV, and they’ll be sharing their latest insights at an exclusive event coming up May 24. “Connected TV and 3D: Supplying the Demand” will feature the top people in the industry now engaged with these emerging technologies.

ESPN’s Sean Bratches and Bryan Burns will be on hand to discuss the first 3DTV network launched in the United States, nearing it’s one-year anniversary. Ronald J. Sanders of the Digital Entertainment Group and Warner Home Video will present DEG’s latest survey of more than 3,000 3DTV owners.

Top executives from Samsung, SES, Rovi, TiVo, NueLion, the Consumer Electronics Association the Television Bureau of Advertising and others will cover content deployment for Connected TV, how 3D fits in, and what’s happening in the world of audience measurement to keep up with it all.

Please join me Tuesday, May 24, from 8 a.m. to 12:30 p.m. at New York’s Roosevelt Hotel for“ConnectedTV and 3D: Supplying the Demand” for a view of the new frontier.

For more information and to register, click here.

Deborah D. McAdams
Executive Editor 
TV Technology

The link to more information is here: http://www.cfmediaview.com/lp1.aspx?v=6_350668949_20222_4

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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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