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How I Stopped Worrying and Learned to Love 3-D

[Wired]

I am not afraid to admit it: I’m a fan of 3-D movies. At its best, 3-D can add a texture and layering to the visual narrative that a skilled director and editor can spin into magic. At its worst, though, 3-D is annoying and painful. I admit that I have seen some horridly bad 3-D movies recently, but the technology is still growing, and getting better all the time. After a recent tour of 3-D cinema equipment manufacturer 3ality Technica’s headquarters and an interview with their CEO Steve Schklair, I’ve seen where that future of 3-D is headed, and it’s looking very bright. …

What I learned during my tour of 3ality Technica, though, enlightened me as to why some movies work with 3-D while others (excuse the pun) fall flat. It comes down to two different factors: how the film was created (filmed in 3-D or converted) and how it’s projected (active or passive). …

In the United States, 3-D TV programming is a novelty at best. In the United Kingdom, however, BSkyB is experimenting with live 3-D sporting events, and broadcasting them in the pubs of London. They have sponsored 3-D nights, with free glasses provided, and according the Schklair, they are constantly sold out: “They even have an iPhone app that lets you locate the closest three pubs playing your game in 3-D based on the GPS data.”

There are still a lot of 3-D haters out there, and I’m not saying they have no reason to distrust 3-D. It’s off to a shaky start, mostly because the technology needed to properly render it has lagged behind the medium’s true capabilities. But the point of 3-D is not just to bring a sense of depth, but to bring us along into the movie, to feel a part of it in us. Bad 3-D makes this feel like a hollow goal, but when you get the good stuff, you’ll never forget it. I’m looking to a summer full of the good stuff.

See the full article here: http://www.wired.com/geekdad/2012/05/3ality-technica/

James Cameron predicts at-home 3D technology will ‘explode’ in two to four years

[National Post]

Home viewing of movies in three dimensions will be slow to catch on until technology improvements deliver high-quality viewing without special 3D glasses, according to director James Cameron.

Cameron, a fervent believer in 3D, says a lack of high-quality content was also a barrier to wider adoption, but a poor technology to accommodate groups of people watching from different angles without glasses was the main obstacle.

“The biggest hurdle right now is the experience in the home. While it’s quite good, it requires committing to wearing glasses,” Cameron says. “It’s a family phenomenon so it has to be seen from different angles. High-quality, full HD-resolution, glasses-free displays are two to four years away. In the next few years, I think the market will explode.” …

Read the full article here: http://arts.nationalpost.com/2012/05/31/james-cameron-predicts-at-home-3d-technology-will-explode-in-two-to-four-years/

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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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