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Exclusive interview with ONSIGHT 3D Producer Ben McGuire

[3D Focus]

Ben McGuire started his career as a Runner for ONSIGHT, moving up to Post Production Co-ordinator where he was responsible for managing all the 2D work being processed through the Final Cut Pro and Avid suites. He eventually became a Producer, working on 2D projects until getting involved with post producing a 3D project for Burberry. From that, Ben moved on to several high end 3D projects for Sky 3D including Kingdom of Plants 3D.

3D Focus:  How do you combine a 2D and 3D edit?

Ben McGuire: It depends on what the final project is. If it is a 3D show, the focus is on the 3D content.  The 3D market for broadcast is growing.  With regards to Kingdom of Plants 3D With David Attenborough, a 2D version of the show was also required. In basic terms, it is the same edit as the 3D. We take a single eye and remove any stereo elements associated with that video stream. Sky’s 2D channels often incorporate advertising and programming will therefore be reversioned with part breaks, as was the case with Kingdom of Plants 3D. …

3D Focus: Would you like to be able to work with more flexible depth budgets?

Ben McGuire: The biggest challenge I find is audience and client expectation.  I have to ensure we comply with a broadcaster’s specifications.  In the early days of 3D broadcasting, the parameters were fairly conservative.  As awareness has developed, these parameters have changed. On Kingdom of Plants, we have been able to explore the space further, which is exciting and proving to be ideal for the subject matter.  Overall, I would approach each individual project on its own merits.

3D Focus: How much, on average, time and cost does 3D add to the post production period specifically?

Ben McGuire: 3D production is more complex and requires a unique approach to each project. It’s hard to put a number on it, but additional time is certainly required for the online process. Making the right choice for your facilities provider, helps the process run smoothly and avoid unexpected costs.  …

See the full story here: http://www.3dfocus.co.uk/3d-news-2/3d-broadcasting/exclusive-interview-with-onsight-3d-producer-ben-mcguire/8618

Xpand 3D CEO Maria Costeira talks about challenges facing 3D

[Screen Daily]

Speaking in Cannes, where XPAND 3D signed a new three year contract renewing its role as the technical partner, company CEO Maria Costeira, considers some of the main challenges facing the 3D market.

How much of the turnover of XPAND 3D is down to cinema? Given the many other fields in which you’re active, is cinema a core part of the company?

In terms of volume of units, it (cinema) is still a very significant part. We manufacture over a million units for cinemas worldwide in terms of pairs of glasses and systems. We have 6000 installations worldwide. That is growing, mainly due to China, India, South America (especially Brazil and Argentina) and Russia and Turkey. The volume of cinema is significant but it’s not the biggest field of the company.

If cinema isn’t driving 3D, what is?

It’s definitely home entertainment in the sense that there are so many TVs and laptops worldwide. For instance, we manufacture for HP. You just have to think that Hewlett Packard is the biggest manufacturer of laptops in the world. We have a computer we specifically design for them called the Envy. That came out 18 months ago, the first series. We manufacture for Phillips. If every single TV that goes out gets shipped with two pairs of glasses, you just have to multiply that. We do JVC, Mitsubishi and Toshiba. We do product design for the majority of consumer electronic brands in the world. XPAND is not a glasses company. Glasses is a means to an end. We have auto-stereoscopic devices, we have passive devices, we have medical devices that have nothing to do with 3D medical.

 

Is 2012 going to be a good year for 3D?

I think this year is going to be a good year. There are good movies. That’s not one Avatar but there is a serious line-up of solid movies. You will have a constant array of movies coming out during the summer  months and over Christmas. I think that is going to sustain the growth of this box-office. Simultaneously, you have very good gaming. Gaming is the driver of all technology. Nobody likes to talk video gaming because (they think) it’s so kid driven. It’s not. Gaming is all about adults. Video games are going to drive a lot of the movies we are going to see at the box-office. TV business is back on track. In Japan and Korea, all displays being sold are 3D ready. That means you have a wide range of windows where you can be showing product. There are more 3D channels. Apple is coming in to 3D, YouTube is coming into 3D.

See the full interview here: http://www.screendaily.com/news/digital/xpand-3d-ceo-maria-costeira-talks-about-challenges-facing-3d/5042854.article

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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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