News Stories

Cannes 2012: 3D Comes Into Sharper Focus

[Hollywood Reporter]

…Despite the format’s troubles, 2011 marked another record year for 3D, with total box office revenue from 3D movies hitting $6.9 billion, an 18 percent jump, according to provisional figures from Screen Digest.

But in North America, still the largest 3D market, revenue actually was down, to $1.9 billion from $2.1 billion in 2010. While part of that drop was Avatar-related — no 3D release has come close to the take of Cameron’s record-breaking blockbuster — there are also clear signs of 3D fatigue.

“While 3D definitely isn’t going away, the audience is becoming a lot more selective,” says Screen Digest senior analyst Charlotte Jones, who points out that in North America, the 3D/2D split — the percentage of box office a 3D title generates from 3D screens  — was down to 56 percent last year, after garnering 66 percent in 2010 and a whopping 70 percent back in 2008.  …

There are still plenty of 3D titles cramming the halls of Cannes’ Marche du Film. …

“Actually, I spent a lot of my time in the past few years discouraging filmmakers from making their movies in 3D,” says Caroline Stern, director of international sales and acquisitions at Kaleidoscope. “3D is costly and it doesn’t necessarily have a value. There has to be a reason to shoot in 3D.” …

Wildlife documentaries seem to be one genre that is benefiting from 3D, particularly as 3D cameras and rigs get smaller and lighter, allowing documentary filmmakers to get places they could never have gone before. …

“If you look at the success of films like Wim Wenders’ Pina, it totally proves there is a market for indie product in 3D,” Horley says, “But you have to create an event that audiences are willing to pay a premium for.” …

Read the full story here: http://www.hollywoodreporter.com/news/cannes-3d-madagascar-324529

LG Google TV arrives this month with dual-core chip and passive 3D

[GeekTV]

Google TV hasn’t exactly skyrocketed to popularity the way Android did after being introduced to the public, but maybe it’s just a matter of someone building a really good device that really shows off the OS. LG thinks their new sets do just that, and they’re excitedly showing off their new Google TV models at Internet Week.

LG will be offering up both 47 and 55-inch screens, both of which will feature LG’s customized interface running atop the Google TV core. The home screen is broken down into pages, with categories including 3D content, frequently used apps, bookmarks, and premium offerings. A dock at the bottom provides quick access to the selections you use the most — including Google Chrome and the Google Play market. LG’s new sets also feature passive 3D technology, so you won’t have to shell out quite as much cash to outfit your home theater with specs for the whole crew.

Instead of relying on a trackpad as Sony and Logitech do, LG’s Magic Remote provides Wii-like motion control for the on-screen cursor. Flip the diminutive remote over, and you’ll find a full QWERTY keyboard on the back for those times when you’d prefer to type — or rattle off voice commands when you’d prefer not to strain your thumbs.  …

They’ll be arriving on store shelves by the end of the month at $1699 for the 47-inch and $2299 for its big brother. …

Read the full story here: http://www.geek.com/articles/gadgets/lg-google-tv-arrives-this-month-with-dual-core-chip-and-passive-3d-20120516/

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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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