{"id":316,"date":"2012-07-09T23:15:55","date_gmt":"2012-07-10T06:15:55","guid":{"rendered":"http:\/\/research.ecuad.ca\/s3dcentre\/?p=316"},"modified":"2012-07-09T23:15:55","modified_gmt":"2012-07-10T06:15:55","slug":"stereo-3d-weekly-news-roundup-july-9-2012","status":"publish","type":"post","link":"https:\/\/palette.ecuad.ca\/bgml\/2012\/07\/09\/stereo-3d-weekly-news-roundup-july-9-2012\/","title":{"rendered":"Stereo 3D Weekly News Roundup :: July 9 2012"},"content":{"rendered":"
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This weeks news take on a more philosophical edge:<\/span><\/h1>\n<\/div>\n
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What is the future of Stereo 3D, and what will it mean?<\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

\u00a0<\/strong><\/a>Reflections on the growth of 3D<\/a>\u00a0::\u00a0<\/strong>Barry Sandrew, Ph.D
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Before entering the world of Visual Effects, Sandrew’s background was neurobiological and medical research with a career spanning the pioneering eras of neuroscience and digital medical imaging.\u00a0 “in the last decade we\u2019ve seen what is arguably the most significant advancement in feature film technology.\u00a0 Sometimes referred to as the \u201cDigital Age of Cinema,\u201d the early 2000\u2019s saw Hollywood accepting the fact that film may no longer be the dominant medium for making and exhibiting movies, paving the way for digital cinema to become the default standard.”<\/p>\n

Discussed in detail is Higher Spatial Resolution, and I can really appreciate Sandrews’ comparisons of digital cinema resolution to medical imaging resolution. It is a great example of how 3D technology crosses the boundaries between many industries.<\/p>\n

The author also details the movement towards Higher frame rates for 3D and temporal resolution. One thing not to be forgotten is the tremendous bandwidth and storage demands from production through to delivery.<\/p>\n

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Cine Gear: One Step Backward, Two Steps Forward<\/strong><\/a>\u00a0:: Indie Film 3D<\/p>\n

Valentini addresses one of the greatest limitations to S3D projection to date; the loss of\u00a0colour depth<\/a>. “But in the wings are laser projectors. The color depth will catch up.” The article also goes int detail about the size of rigs, and offers a few new technologies that will\u00a0 be smaller.<\/p>\n

\u00a0<\/a><\/p>\n

3DTV \u2013 as the US dives, international\u00a0thrives<\/strong><\/a>\u00a0 :: 432 Digital Inc<\/p>\n

Hot in the news last week was the announcement that\u00a0DirecTV was pulling the plug on its 24-hr 3D channel<\/a>.<\/strong>\u00a0Many thought that spelled doom and gloom for Stereo 3D as a whole, but this article has a great counter response about the international market thriving outside of N.America. Torsten Hoffman from the 3D Content Hub discusses the state of 3D content production, price drops, product availability, and great advice to any broadcaster wanting to expand into 3D network.<\/p>\n

ALSO:\u00a0a post Mortem Debate:<\/a><\/strong><\/p>\n

Q: “DirecTV says lack of content is the reason for the cut back in programming. What do others think? Is this the real reason the lack of advertising, the small customer base of 3DTVs, poor subscription models or other factors?”
\nA: “orry CC, not buying that one! Why is it that there is so much content buying going on in Europe and Asia. China is scooping up bunches! LG, Sony, Samsung and Panasonic are all featuring 3D channels on their smart TVs.
\nSome of the 3D content on DirecTV was excellent while others were just plain bad 3D. And this is not my critique, it is the voice of many others.”<\/p>\n

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This article was discovered courtesy of J. Leong, one of our active S3D Community members:<\/p>\n

Some thoughts on 3D<\/a>\u00a0::<\/strong>\u00a0Rian Johnson<\/a>\u00a0(Breaking Bad<\/a><\/em>)<\/p>\n

While Rian is explicit in stating that he does not have any interest in filming in 3D, and little interest in watching it, he makes some valuable reflections on ‘true depth’, and how an artist’s gallery exhibition helped open his mind to the possibilities of Stereo 3D media. “I don\u2019t think the development of 3D will be significantly forwarded by artists \u201clearning to use\u201d the current technical model of stereoscopic properly, or refining how they dial it in.\u00a0 Technicolor was not a refinement of hand painting, it was a completely new technology.\u00a0 It was a different thing.\u00a0 I have no idea what it will be, what form it will take, where it will come from or when it will arrive, but I believe a similar quantum leap to a new technical way of capturing depth on recorded media will be what actually brings us into the 3D age. \u00a0It\u2019s going to happen. \u00a0”<\/p>\n

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International News<\/strong><\/p>\n

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River Monster 3D: Behind the Scenes<\/strong><\/a>\u00a0:: 3DFocus.net<\/p>\n

Well. I was very excited in April to see one of my favourite shows, “River Monster” had been filmed and will be delivered in Stereo 3D. The following is a fantastic 17 minute behind the scenes video that has just been released. They used SI2K- SI3D as their main system for filming, and the rig weighed 20kg so the operators were able to use it steadicam style. Barney Revill,\u00a0River Monsters<\/a>\u00a0director explains how they avoided getting stuck in the technicalities of stereo 3D to really embrace the value of the extra dimension.\u00a0 The majority of the parallax was at 3%, with some footage being as high as 6%. They ended up cutting the episode in Avid, and worked with burned in side by side footage for the offline which they could not modify the 3D depth. To solve the problem, they had a consultant create a set of preset plugins to use. They also took 2D underwater footage and created a kind of 3D conversion by manipulating the blacks and whites. The editor explains how he tried to keep shots of similar depth grouped together to avoid the eyes working to hard. All the depth grading was completed at SkyTV 3D department after the film was cut, during the online process. This video is full of really fantastic information from the perspective of the director, TV personality and editor.<\/p>\n