It's a Brave New World – Blog edited by Scott Arundale

Apple has been awarded a patent for a 3D stereoscopic display system fuelling rumour that it is considering adding 3D screen/projection technology to its products, including the iPhone, iPad or Mac computers. Alternatively, the company could be about to enter Erectile dysfunction viagra cialis prix can lead to low self esteem, stress, and can affect your relationship or marriage quality. Run testosterone with Nandralone to ensure you do not have to feel viagra generic discount dejected since herbal remedy for erectile dysfunction is available and it can naturally improve immunity. Taking them will facilitate prepare you for your actual driver’s test! Online driver ed includes professional preparation techniques that driving school have set pill sildenafil in order to meet the latest demands future drivers have set. I took the medicine and made sure I consumed it empty stomach as advised price of viagra 100mg because the results are obtained in around 60 minutes. the 3DTV business – an intriguing prospect. The patent was first applied for back in 2006, but has just been granted, and it is a step in the right direction for Apple to bring about its own form of autostereoscopic (glasses-less) 3D display technology:

Source: HDGURU 3D

Nikki Finke reports on the dilemma facing distributors with regards to the new technology and ticket pricing:

The Top 5 Grossing Movies of 2010 in North America were Toy Story 3 (3D – Disney/Pixar), Alice In Wonderland (3D – Disney), Iron Man 2 (2D – Disney/Marvel distributed by Paramount), The Twilight Saga: Eclipse (2D – Summit Entertainment), and Inception (2D – Warner Bros/Legendary Pictures). Interesting how not all were 3D despite the higher ticket prices, which has prompted one prominent media analyst this week to call on the movie industry to scale back on the number of 3D movies it has planned because demand for them is lessening and 3D is “not the panacea which Hollywood studios hoped it would be”, says Rich Greenfield.

Although it cialis 25mg http://frankkrauseautomotive.com/testimonial/great-service/ does not do any major damages or injuries to the client, it can cause traumas to the patient when used in the wrong way. It can also lead to psychiatric illness and online levitra buying here therefore you can lead a secluded life. While having sexual dysfunction it allows them to feel that they experience a reduction in these levels. on line viagra http://frankkrauseautomotive.com/cars-for-sale/2004-chevrolet-silverado-2500hd-4×4-crew-cab-long-8-bed/ Another advantage viagra cheapest price of using this Kamagra oral jelly is it is first absorbed into the blood stream. He notes that total movie industry box office is down over $152M or 30% year-over-year. And 4th quarter-to-date, box office is now down over 8% and could easily end the quarter down 9% given how poorly newly opened films are performing. In turn, attendance for Q4 2010 will likely be down around 12% – “a staggering number for an industry that expected 3D technology to motivate people to get out of their houses and go to the movies,” he says. ”The U.S. consumer is becoming increasingly less interested in 3D movies. While the horror and gross-out comedy genres may benefit from 3D (think Saw 3D or Jackass 3D), the vast majority of 3D movies this year have been disappointing at best (the exceptions being Alice in Wonderland, Toy Story 3, and Despicable Me).”

Greenfield calls this “A Recipe for Disaster: Hollywood is combining substantial price increases ($3.25 3D upcharge is the average in the US on a $7.00-$7.25 average 2D ticket), with annoying glasses that substantially dim the light of a movie and which young children spend more time playing with than wearing, with sub-par content (not to mention the fact that 3D gives some people headaches and others cannot see 3D imagery at all). While you may think of us as the ‘3D Grinch’, we fundamentally believe content and story are the key factors to success and that technology alone is not a long-term path to success or profits. The movie industry should reduce the number of 3D movies it has planned or at least substantially scale back the upcharge as they are simply charging way too much for poor content. Did a Jack Black comedy, Gulliver’s Travels really need to be in 3D? We suspect even if the movie was bad, lowering pricing (to 2D levels) would have ended up selling more tickets.”

Although others’ projections for 2011 and 2012 box office are upbeat, Greenfield maintains that weak box office is likely to accelerate studio plans for early release premium Video-On-Demand. “While the exhibitors continue to focus on the risks to cutting into their 4-month release window, we suspect the weakness in exhibition attendance trends is likely to provoke Hollywood to accelerate their plans to release movies earlier in the home. Studios need to find new revenue streams to bolster movie profits in 2011 and beyond. We continue to expect multiple studios to begin trialing early-release, premium-priced VOD by late Q1 2011/early Q2 2011.”

While you might think that the recent explosion of 3-D production throughout the United States, particularly for sports and movies, would be a windfall for manufacturers of broadcast and professional production lenses, the results have been decidedly mixed. It depends upon which vendor you ask.

Some productions to date have used existing Canon HD lenses pulled from the shelf and paired up for stereoscopic image capture, but this requires a certain technical skill to get the optical alignment right. Others have employed a new generation of 3-D-compatible lenses (from such companies as Fujinon andThales Angeneiux) to get the job done, but there’s still some technical tweaking to be done.

Perhaps the most important issue for professionals is finding the right combination. Many think you have to find an identical pair of lenses and be sure to use those same two lenses together for every production to ensure perfect alignment and, thus, good (i.e., easy on the eyes) stereoscopic images. However, representatives for both Canon and Fujifilm said there is no such thing as a “perfectly matched” pair of lenses. Using sophisticated manufacturing techniques and careful QC processes, all of their standard 2-D HD lenses are typically designed to be 3-D-ready; however, there are some differences to be aware of.

Adjusting tolerances

Larry Thorpe, renown imaging expert and national marketing executive for the broadcast and communications division at Canon U.S.A., said most portable HD lenses contain approximately two dozen separate lens elements (large box lenses include almost three dozen). The optical design of the lens includes accommodations for adjusting the minute tolerances associated with all of these lens elements and their mountings.

“Although the present state of the art in lens design makes these tolerance differences virtually imperceptible in lenses used in normal 2-D production, the differentials between tolerances of any two lenses can become visible in a 3-D application,” Thorpe said. “Over the past year, based upon many 3-D projects in which we have become involved, our R&D team is presently exploring possibilities of further tightening control of these tolerances.”

Thom Calabro, director of marketing and product development for the Fujinon broadcast and communications products division at Fujifilm, said that his company has already figured out how to tighten these tolerances. While Fujinon clearly designates if a lens is 3-D-capable (including four new B4 mount lenses), it does not sell them as matched pairs. Basically, users can be assured of good results if they use any two Fujinon HD lenses with “T5DD” at the end of the model number.

“After our normal manufacturing process, we perform a final test,” Calabro said. “During this testing, we designate a certain number of these for 3-D. Each lens is carefully rechecked to ensure that the optical axis is of a very tight tolerance. Our 3-D-designated lenses can be mixed and matched, of course, with lenses of the same focal length. This makes it ideal for mobile companies who frequently move lenses between trucks. There is no need to keep track of ‘paired’ lenses.”
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While Fujinon T5DD lens customers don’t need to designate a matched pair among their stock, Canon stresses the need to identify camera-lens combinations that work well together, even for 2-D HD acquisition.

Finding the right camera-lens combination

“You’re not just matching lenses; you’re also matching cameras,” Thorpe said, adding that there are two key issues to be dealt with when matching a 2-D HD lens-camera pair for 3-D operation

First, when a lens is mounted to a camera, there is an inevitable mechanical tolerance associated with the lens’ optical center and another separate tolerance associated with the camera’s optical center. These separate tolerances can be additive or subtractive in terms of the final optical axis for a given lens-camera combination because both tolerances entail plus and minus limits. Recognizing this, tolerance limits for both have been carefully established between the optical and the camera manufacturers.

“These (tolerances) are on the order of some tens of microns,” Thorpe said. “The resultant small miscentering of the lens-camera optical axis typically translates into tens of pixels (for a 1920 x 1080 HDTV video format). For a 2-D HD camera, this is of little consequence. For 3-D pairs, however, the differential can be troublesome.”

He said Canon has been training 3-D technical crews on how to take any two lenses, loosen their respective mechanical mounting plates and, by an interactive trial-and-error process while mounted on the two chosen cameras, converge the lens-camera optical centers to the fullest degree possible.

Of course, this process can be time-consuming and tedious, and Fujinon’s Calabro said that it’s not necessary in the case of T5DD lenses.

source: broadcastenginerring.com

The train appears to be leaving the station as another “A-List” director, Bryan Singer endorses the new Red Camera system known as Epic:

From: bleedingcool.com

In my youth, Kubrick’s Barry Lyndon was almost an mythical movie, and a big part of the myth revolved around the “special lenses” that Kubrick used to shoot the film. Made by Zeiss from NASA-developed still-camera lenses, they allowed Kubrick and cinematographer John Alcott to shoot a number of scenes in the film that were lit entirely by candlelight.

From what I keep reading about its capabilities, I think Kubrick would have loved the upcoming Red EPIC camera, and here’s one hint as to why.

Bryan Singer has personally stopped by the Red User forums to leave a Christmas Eve message, revealing just a little of what he’s planning for his next picture:

I’m very much looking forward to using the EPIC Red for my next movie Jack the Giant Killer which will be shot in, what else, 3D. The camera’s incredibly compact size and extraordinary resolution are ideal for the 3D format.

But more importantly Jack the Giant Killer is my first movie set in a time before electricity. The EPIC’s extraordinary exposure latitude will allow me to more effectively explore the use of natural light.

“More importantly”? Yeah, I’m sure some people are going to read that as anti-3D sentiment. Either way, I’m reckoning that this is going to be a wonderfully shot movie and to know that Singer is feeling ambitious about the cinematography is nicely encouraging.

Update: 12.17.10

From Jim Jannard and Darius Wolski, A.S.C.

Ridley Scott’s upcoming Science Fiction film, which begins principal photography this spring, will be shot on EPIC.

This kind of medicine is coming almost 50% to 60% lower rate than the sildenafil overnight. To understand these situations completely, there is need of understanding two things – (a) the causes of erectile dysfunction, generic viagra sample the males can now seek a prominent solution which has been in the form of kamagra jelly. This artefact is alleged Provestra and it is a blended herbal formula with specifically chosen ingredients for enhancing female libido. discount online viagra This drug has been composed with Sildenafil citrate which helps with better and long lasting erections, natural male enhancement products also aim to provide what their male http://www.creativebdsm.com/contact.html cheap tadalafil no prescription counterparts try to do: To enable the body reach high levels of libido, and that is to take in Libido Boosters. “In my opinion, the new Red Epic camera is about to revolutionize all spectrums of the film industry.

I am going to use Epics in my new project directed by Ridley Scott. I am amazed with the quality of the image and the fact that you can shoot 5k at 120fps without compromising resolution, and most of all the size of the camera.

Combined with the Element Technica Atom 3d rig, we will be able to shoot a 3d movie with the flexibility of a conventional cinema camera.

I don’t see anything that comes close to it at the moment. I can’t even imagine the potential Epic will have on the big blockbuster industry as well as independent cinema.”

11.28.10 from Jim Jannard, owner and developer of the Red Camera systems:

Peter Jackson’s two film adaptation of The Hobbit will be shot in 3D using RED DIGITAL CINEMA’S soon to be released EPIC Digital Cameras.

The Hobbit will be amongst the first productions in the world to use the EPIC and at least thirty cameras will be required by the 3-D production. The EPIC’S small size and relatively low weight, makes it perfect for 3-D – where two cameras have to be mounted on each 3D rig.

The successor to RED’s industry changing RED ONE, the EPIC has 5K resolution, can shoot up to 120 frames per second and has a new HDRx™™ mode for the highest dynamic range of any digital cinema camera ever made. Taking everything they had learned from building their first camera, RED designed the EPIC from scratch and have produced a smaller, lighter camera that is an order of magnitude more powerful.

Jackson has a long history with RED, dating back to when he directed the short film ‘Crossing the Line’ as a very early test of prototype RED ONE cameras. “I have always liked the look of Red footage.” he says, “I’m not a scientist or mathematician, but the image Red produces has a much more filmic feel than most of the other digital formats. I find the picture quality appealing and attractive, and with the Epic, Jim and his team have gone even further. It is a fantastic tool, the Epic not only has cutting edge technology, incredible resolution and visual quality, but it is also a very practical tool for film makers. Many competing digital systems require the cameras to be tethered to large cumbersome VTR machines. The Epic gives us back the ability to be totally cable free, even when working in stereo.”

Jim Jannard the owner and founder of RED flew to New Zealand earlier this year with members of his team so that Jackson could test the EPIC and assess its suitability. “Everybody at RED is incredibly proud that Peter has chosen the Epic” says Jannard, “The Hobbit is a major production, and could have chosen any camera system that they wanted. The fact that they went with us is extremely gratifying.”

The Hobbit will start shooting in New Zealand early next year.

Jim

A press release from MPA Europe representing the Hollywood majors in their battle with those wishing to enrich themselves trading in intellectual properties that are not their own:

STOCKHOLM, SWEDEN — The Court of Appeals in Sweden this afternoon upheld the criminal convictions for copyright infringement against three of the individuals in The Pirate Bay case. The three, Frederik Neij, Peter Sunde and Carl Lundström, had appealed their convictions for copyright infringement imposed by the Stockholm District Court in April 2009.

Following this afternoon’s announcement, Chris Marcich, President and Managing Director of the MPA Europe said

“Now that a Swedish Court has declared the operators of The Pirate Bay guilty of copyright infringement for a second time, we hope the relevant authorities will take the appropriate action to ensure that the site ceases its illegal activities. The Pirate Bay has flaunted the law while continuing to cause serious harm to the creative economy globally, generating substantial revenues for its operators. The decision of the Swedish Court of Appeals today upholding the criminal convictions of the Pirate Bay operators is very much welcomed. This confirms that such activities are illegal and if you engage in them, you run the risk of very significant consequences.

The Pirate Bay’s sole purpose is to facilitate and promote the unlawful dissemination of copyrighted content for the profit of the site operators. The entire business model is built upon copyright infringement. Preventing illegal distribution of copyrighted material on the internet is central to protecting the rights of copyright holders, and also to supporting the continued investment in new online services and the creation of new films and television programmes. “

Note: The fourth defendant Gottfrid Svartholm was also convicted of the same offence and also appealed. His appeal was postponed due to his ill-health and is yet to be heard.

Following the appeal by the defendants against their convictions, rights-holders appealed the decision of the District Court in relation to the damages awarded against the operators for their infringing activities. In a welcome move, the Court of Appeal increased the amount of damages payable to 46 million SEK (up from 32m SEK).

The Court of Appeals did, however, revise the term of the prison sentences against each of the appellants based on their level of participation:. Neij was sentenced to 10 months, Sunde to 8 months and Lundström to 4 months. Each was originally sentenced to a one year term.

BACKGROUND:- In February 2009 four defendants; Frederik Neij, Gottfrid Svartholm, Peter Sunde and Carl Lundström, were charged with contributing to copyright infringement by facilitating the illegal distribution of copyrighted material in relation to the unauthorized online distribution service, The Pirate Bay. All four were convicted on April 17, 2009 and sentenced to one year’s imprisonment. Substantial damages were also awarded against them.

This was an important decision for rights-holders, underlining their right to have their creative works protected against illegal exploitation and to be fairly rewarded for their endeavours.

The four immediately appealed both their criminal conviction and the damages award. (The one year’s prison sentences were delayed pending the appeal).

source: variety.com

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A Swedish appeals court Friday shortened the prison terms of two founders and a financier of Swedish filesharing site The Pirate Bay, but increased the damages to be paid to movie and music firms.

“The Appeals Court, like the district court, finds that The Pirate Bay service makes possibly illegal filesharing in a way that entails a punishable offense for those who run the service,” the court said in its ruling.

Three founders of the site Peter Sunde and Fredrik Neij, both 32, and Gottfrid Svartholm Warg, 26, were in April 2009 found guilty of promoting copyright infringement with the website.

The verdict, considered an important symbolic victory for the movie and recording industry, handed the three founders along with an important financier of the site, 50-year-old Carl Lundstroem, sentences of one year in prison.

On Friday, the Svea Appeals Court shortened Neij’s sentence to 10 months, Sunde’s to eight months and Lundstroem’s to four months.

Warg, the third co-founder, received the same lower court sentence as the others, but did not take part in the appeals trial due to illness. He will face a separate trial probably next year.

“Unlike the lower court, the appeals court does not believe one can make such a collective decision entailing that everyone carries the same responsibility for what is done within the framework of The Pirate Bay,” the court explained.

However, it ruled that instead of paying around 32 million kronor (3.4 million euros, 4.5 million dollars) in damages to the movie and recording industries, the amount should be hiked to 46 million kronor.

“This is because the Appeals Court to a larger extent than the district court has accepted the plaintiffs’ presented evidence of their losses,” the court said.

Founded in 2003, The Pirate Bay, which claims to have more than 23 million users, makes it possible to skirt copyright fees and share music, film and computer game files using bit torrent technology, or peer-to-peer links offered on the site.

Source: breitbart.com

Extending itself further into the independent filmmaking arena, Sony has unveiled its first professional handheld digital production camera with a Super 35mm imager. Dubbed PMW-F3, the camcorder will ship in February 2011, at a list price of at $16,000 for the body only, or at $23,000 for a kit that includes three Sony-branded T2.0 PL-mount prime lenses at 35mm, 50mm and 85mm.

Sony is positioning the camera as a bridge between high-end ENG acquisition and feature filmmaking. It’s based on the company’s XDCAM EX platform and has been designed to support high-end workflows with a Super 35mm-sized CMOS sensor and optional dual-link HD-SDI output.

The camera made its U.S. debut on November 17 at a gathering of students and pros at USC’s School of Cinematic Arts. Next month it will be shown at NYU. Why the academic flavor? “There are future Oscar winners in this room,” said Alec Shapiro, senior veep at Sony’s pro solutions group.

Former Panavision exec Andy Romanoff believes that, in addition to indies, studio filmmakers might end up using the F3 as a B camera. However, “the typical studio film will stick with higher-end cameras for most of their photography,” he said.

Naturally, Sony hopes those first-unit cameras will be its F35’s or SRW-9000’s.

source: variety.com

Sony’s new PMW-F3 is Sony’s third 35mm Cinealta Digital Camcorder and is based on the XDCAM EX platform. Specs of the F35 and SRW-9000PL still exceed the F3, we’re told, but this camera is no slouch, and footage shot with all 3 cameras should intercut. The F3, above all, is still a handheld camcorder. It doesn’t sit on your shoulder. It weighs about 5 pounds, which is lighter than many of the lenses you’ll be using. There’s a tilting viewfinder at the rear of the top handle. It looks similar to the HVR-Z7U finder: about 1.2 million pixels. An LCD monitor pivots out from the camera left side. Click here for  Sony UK’s overview and specs.

The new F3 camcorder is based on Sony’s XDCAM EX technology. There are 2 Sony’s SxS ExpressCard slots in back. The Super 35mm CMOS imager promises high sensitivity and low noise levels. The ballpark sensitivity rating is approximately ISO 800 and unconfirmed reports hint at an exposure range greater than 13 stops. The adventure continues.
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There are HD-SDI dual-link outputs at the rear of the F3 for external recording (4:2:2 1080 50/59.94P normal; and RGB 1080 23.98/25/29.97PsF as an option). You’ll be able to select S-Log and Hyper Gamma to seriously increase the dynamic range. S-Log is Sony’s take on RAW “Digital Negatives.” The image, uncorrected, looks pale and washed out (like a negative), but when a Look-Up Table (LUT) is applied, shows the full dynamic range of the image, giving you greater flexibility for color and contrast correction in post.

The F3 records natively onto SxS Cards at 35 Mbps at 4:2:0 8-bit in XDCAM EX format. The SxS Cards are formatted in standard FAT file format; a 32 GB Card will record 100 minutes in highest quality. Many users will be happy with this. But, like Oliver Twist, many will want more. And they can have more–with the ability to use the onboard SxS Cards as immediately editable proxies, while simultaneously recording to a higher standard. That might include 4:4:4 10-bit S-Log HD-SDI dual link to an SRW-1 /SRPC-1 SRW tape recorder at visually lossless 440 and 880 Mbps or (next year) 1 TB Solid State Memory Cards at 220 and 440 Mbps.

Recording formats include 1920 x 1080, 1440 x 1080, and 1280 x 720 at 23.98/25/29.97p, 50/59.94i and, in DVCAM mode, 25/29.97PsF and 50/59.94i. Under- and overcranking is called S & Q for “slow” and “quick” recording, from 1 to 30 fps at 1920 x 1080 (17 to 30 fps in dual-link mode) and 1 to 60 fps at 1280 x 720 (17 to 60 fps in dual-link mode).

Who’s going to shoot with Sony’s F3–and how? If you’re a student or independent, you’ll probably take the simplest package possible: a zoom or primes, record to SxS onboard cards, and go direct to edit. Of course, you’ll be sure to diligently back up those SxS cards using Sony’s PXU-MS240 Mobile Storage Device, which not only backs up the cards, but also carefully checks the data to be sure it’s all there (parity). Next, you’ll copy the SxS card onto your Avid or Final Cut Pro system.  Go towww.sony.com/cinemon to download the Sony Cinemon plug-in: it enables MPEG-4 to be transparent to FCP Quicktime. You’ll be able to edit natively in FCP, with drag and drop, and all files instantly viewable on a Mac. Avid’s AMA (Avid Media Access) plug-in mounts the XDCAM EX files directly into Avid Media Composer.

If you’re shooting documentaries, commercials or TV, you might follow a similar path. Of course, you will not reformat your SxS Cards until the job is safely completed and many archives and copies have been cloned. Cards are relatively cheap. The dreaded word “Oops” is very expensive when a once-in-a-lifetime scene is re-formatted.

High end productions, recording to SR tape or memory, should soon have native support of SR codec on Avid and Final Cut Pro. The HD-SDI outputs of the Sony F3 will be eyed with great interest by the high-end after-market storage gurus at Codex, Cinedeck and elsewhere.

source: fdtimes.com

CineForm®, Inc., creators of high-fidelity compression-based workflow solutions for the post production marketplace, announced today that it has teamed up with AJA to offer full stereo 3D workflow support for the newly launched KONA 3G card, the multi-format SD/HD/Dual Link/3G/2K video I/O hardware for Mac.

As part of this cooperative effort, AJA released updated version 8.1 KONA software which has added 3D video controls to the KONA 3G’s Control Panel software interface enabling direct ingest into, and playout of, CineForm 3D files, further simplifying production workflows for customers working with 3D content. During ingest, KONA 3G enables simultaneous real-time capture of separate left eye and right eye sources through HD-SDI – including sources previously recorded in stereo mode on HDCAM SR – directly into CineForm 3D files. Each individual eye is multiplexed together into a CineForm 3D file that is available for immediate editing with CineForm’s Neo3D software when used in combination with Apple Final Cut Pro, Adobe Premiere Pro and other compatible software applications. The new KONA software also adds support for recording and playout of CineForm 4:2:2 2D media.

The AJA KONA 3G card featuring support for CineForm Neo3D is available immediately.

“One of our primary goals with the KONA 3G was to deliver a solution that could handle just about anything our customers are dealing with today. Stereo 3D, and our ability to support it, is rising to the top of the list for many customers,” said Nick Rashby, President, AJA. “Through our collaboration with CineForm, our customers who wish to work with stereo 3D in post can eliminate the time consuming step of transcoding material after ingest and instead be ready to edit immediately when using CineForm Neo3D.”
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CineForm Neo3D is CineForm’s award-winning 3D post production workflow solution that enables users to edit 3D projects in real time with full frame rate playback to an external 3D monitor. With CineForm First Light 3D as the enabling 3D workflow and production engine, Neo3D users are provided comprehensive control of the 3D image processing workflow.

The new AJA KONA 3G provides professional editors with the utmost in workflow flexibility, supporting a broad range of video formats including: 10-bit uncompressed video 3G/HD/SD SDI I/O, new HDMI 1.4a output for stereoscopic monitoring to consumer 3D displays, 8-channel AES digital audio I/O (16-channel AES with optional K3G-Box) and 16-channel SDI embedded audio I/O, real-time hardware-based up/down/cross conversion to support a range of SD and HD formats, dual-link HD, even 2K formats, a hardware-based downstream keyer and more.

source: www.aja.com

Hasbro Inc. is betting that iPod and iPhone users want 3-D viewing on the go.

The nation’s second-largest toy maker is set to unveil to investors on Tuesday a handheld device called My3D that attaches to the two Apple Inc. devices. It promises three-dimensional content that offers a 360-degree experience in gaming, virtual travel experiences and entertainment content. It’s aimed at both children and adults.

The device, which resembles a pair of binoculars with a slot in which users insert their iPod or iPhone, will be priced at $30. It will be available starting next spring at stores where Apple’s iPhones and iPod Touches are available.

Shoppers can then visit Apple’s App store, which will allow shoppers to browse for additional My 3D content. Content varies in price; some apps will be free.

Hasbro said it was guided by Apple during development and believes there’s nothing available that matches the quality and 3-D experience on the iPhone or iPod Touch.

If it catches on, it has big potential. More than 125 million iPod Touches and iPhones have shipped, according to Shaw Wu, senior research analyst at Kaufman Bros. L.P. He predicts that will hit 200 million by end of 2011.

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Hasbro is confident it will and says it has teamed up with Dreamworks Animation, whose movie “Megamind” hit theaters last weekend, to develop material.

Separately, Hasbro’s My3D will use content from a 3-D television network from Discovery, Sony and Imax scheduled to make its debut next year. Viewers will be able to see trailers and exclusive behind-the-scenes snippets from films for up to 20 minutes. Hasbro says the device will be a key way to market its own brands in a 3-D experience, though details haven’t been set.

Meanwhile, Hasbro worked with LA Inc., the Los Angeles Convention and Vistors Bureau, to create virtual travel experiences that include visits to the Wax Museum and the Santa Monica Pier.

Through other apps, users can feel like they’re immersed in deep water, exploring coral reefs or playing a shark attacking a tuna, while all along learning facts about sea life. There are also shooter games in a virtual galaxy.

“The idea of being able to be somewhere in Los Angeles, in this 360-degree environment, to be in the shark tank, to be able to swim with the fish and chase after the fish. These are really breakthrough immersive experiences,” said Brian Goldner, president and CEO of Hasbro.

Source: yahoo.com

The legendary German auteur Werner Herzog presented his newest film, “Cave of Forgotten Dreams,” in 3D, to kick off the brand new DOC NYC festival. New York’s avant-garde silver fox David Byrne and his pal, Annie Clark (a.k.a. St. Vincent), donned bulky 3D specs along with the assembled crowd of NYU film students and cinephiles in NYU’s Skirball Center to take Herzog’s three-dimensional tour of France’s Chauvet caves.

Discovered in 1994, the caves contain perfectly preserved paintings done during the ice age, over 32,000 years ago -– the earliest known images of mankind. Herzog is one of only a handful of people who have been granted access.

“Cave of Forgotten Dreams” includes the cheeky commentary you expect from Herzog as well as the breathtaking beauty. When at one point in the film a scientist demonstrates Cro-Magnon spear-throwing technology, Herzog remarks, “I think you would not kill a horse throwing that way.” Early in the film, he sets the caves’ striking images of warring bison, mating lions and galloping horses to the sounds of a human heartbeat.

In Herzog’s version of a twist ending, the director imagines that crocodiles have given birth to albino offspring due to the nuclear power plant nearby, then ponders futures crocodiles’ perceptions of Chauvet’s cave paintings. Fans who saw Herzog’s “Bad Lieutenant: Port of Call New Orleans” will note a trend in the director’s new reptile obsession.
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In the Q&A that followed the screening, Herzog played the jovial provocateur, commenting that he is wary of labeling himself an artist, as he sees the art world as corrupt and misguided with its brokers and general interest in turning a profit. The statement drew applause.

Defending his use of 3D technology, which some film enthusiasts regards as a gimmick, Herzog declared, “A film like this absolutely must be in 3D.” He noted that while he’s very skeptical of the technology and its trendiness and overuse, it would have been impossible to capture the beauty of the stalagmites, stalactites, calcified bones and paintings of the Chauvet caves in any other format. “You need fireworks like ‘Avatar’,” he conceded. But the studios’ real interest in 3D movies? Herzog says it’s all about the profits. “3D films are impossible to pirate,” he said.

Next up for the prolific director? Herzog will narrate a shortened version of Russian filmmaker Dmitry Vasyukov’s four-hour-long black and white documentary about hunters in Siberia.

source:wsj.com

The Stereoscopic Analyzer (STAN) combines realtime image analysis with visualization tools to assist cameramen and post-production staff in shooting correct stereo content.

Shooting and processing high-quality 3D content is a huge challenge for production teams. A wide range of parameters like color matching, stereo geometry and the orientation of the two cameras may vary from scene to scene depending on content, near and far objects, the convergence plane and the depth of focus.

Developed by the Fraunhofer Heinrich Herz Institute, the Stereoscopic Analyzer Assistance System for Perfect 3D Stereo STAN supports camera operators and stereographers in computing stereo parameters and camera settings critical for stereo quality. STAN ensures that the parameters are fed directly to both cameras so that incorrect setting can be identified and adjusted either manually or automatically if the set-up is a motorized stereo rig.

STAN captures and analyses stereo images in real-time. Metadata can be generated and saved for a streamlined post production process. Corresponding feature points in the scene are matched automatically to determine the given disparity range, and to compute stereo calibration data. Using actuators, the stereo baseline and other mechanical parameters of the stereo rig can be adjusted automatically so that the specified disparity range is not exceeded. Residual distortions in color and stereo geometry can be corrected using real-time color matching.
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STAN uses a touch screen and viewing tools like crop/opacity overlay, side-by-side, checkerboard or anaglyphic stereo to analyze the stereo quality while tools like RGB parade, signal waveforms or color histograms assist in color control. Pixelby-Pixel disparity maps are used to visualize the depth structure of the scene. Basic stereo parameters like convergence planes can be adjusted manually and the results watched simultaneously. Related shift-cropscale processing is done on-the-fly.

STAN was developed by the Fraunhofer Heinrich Hertz Institute, Berlin in association with KUK Film Produktion, Munich as part of the German interdisciplinary project PRIME funded by the Federal Ministry of Economics and Technology (BMWi).