News Stories

Red Bull Developing 3D Parkour Version of "Oliver Twist"

[WorstPreviews]

Red Bull Media House has signed on toproduce”Twist,” a 3D re-telling of Charles Dickens’ “Oliver Twist” that’s set in thepresentday. Theplanis to go into pre-production this January.

Story will center around the novel’s Fagin Gang, which will use parkour to carry out a series of art thefts in the film. The original idea comes from brothers Lynch and Simon Thomas.

Austria-based energy giant Red Bull launched its media and content business in 2007.Companyowns television channel ServusTV channeland last year released “The Art ofFlight

Read the original story here: http://www.worstpreviews.com/headline.php?id=24856&count=0

Underwater 3D projection brings Siren to life

[Wired]

…  The Siren is a life-sized 3D projection created by Laura Jean Healey, a Fine Arts graduate from Central St. Martins College of Art and Design.

She had previously used the Musion system — a reinvention of the 19th Century theatrical trick, Pepper’s Ghost — to create work for the Burberry Body perfume campaign and also at the premiere of Mikhailovsky’s “Swan Lake” in London in 2010.

However, shooting in a pool posed several problems not least the fact that this was the first time, says Healey, that the Phantom Flex camera has been used underwater.  …

Read the full story here: http://www.wired.co.uk/news/archive/2012-05/15/the-siren-3d-projection

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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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