News Stories

This is what native 4K home cinema looks like on Sony's VPL-VW1000ES projector

[Engadget]

Why are folks so keyed up about 4K? At first glance, that’s the type of question that answers itself: by definition, a 4096-pixel wide image delivers around four times the resolution of 1920 x 1080, and that’s a healthy multiple. It’s actually of a broadly similar magnitude to the difference between 1080p and old-fashioned analog NTSC video, and nobody these days questions the value of that upgrade. On the other hand, there must come a point where pixels cease to be visible in a home theater environment, such that buying more of them at inflated prices stops being worth it. Sure, 4K can be a big help with 3D footage, because it boosts the resolution to each eye — something we experienced with the REDray projector. But what about regular 2D material, which is still very much the default viewing option? That question’s been nagging at us, so when Sony invited us back for a second look at its 4K projector, the VPL-VW1000ES, this time with full-throttle native 4K source material rather than just upscaled 1080p, we turned up with a tape measure. Read on for what came next.

Nevertheless, we have the beginnings of an answer to our original question: if your screen is around three or four meters wide, and if you sit less than six meters away from it, you’ll notice a clear benefit in switching from 1080p to 4K for 2D material. Interestingly, you’ll also see a significant impact from upscaling your footage through the Sony projector’s processing engine — which makes ‘Reality Creation’ one of the stars of this show, not least because 4K content is so hard to find. …

See the full story here: http://www.engadget.com/2012/05/17/sony-vpl-vw1000es-projector-native-4k/

War of the Worlds Tour ["Hologram"]

[Whats On Stage]

Jeff Wayne’s War of the Worlds musical has announced another UK stadium tour, which will kick off in December 2012 featuring Liam Neeson in the role of George Herbert, The Journalist.

Wayne described the use of 3D holography to present Neeson’s character as a “technological leap forward”, and confirmed that, ahead of the tour, a new double album will be released in the summer.  …

Neeson, who declared himself a fan of the original album, will appear in three ways during the show: as an 11-foot high hologram; within CGI sequences on a 100-foot ‘animation wall’; and as a ‘full body interacting holographically with the show’s live performers’. He won’t be singing though – “I only do that in the bath”, he said. …

See the full story here: http://www.whatsonstage.com/news/theatre/northwest/E8831336923621/Kaiser+Chief+Wilson,+Donovan+and+Ellis+star+in+War+of+the+Worlds+Tour.html

< PREVIOUS ARTICLES NEXT ARTICLES >

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.

Oops, something went wrong.