Tag Archives: stereoscopic

IDEA launches to create specs for next-gen immersive media

The Immersive Digital Experiences Alliance (IDEA) will launch at the NAB 2019 with the goal of creating a suite of royalty-free specifications that address all immersive media formats, including emerging light field technology.

Founding members — including CableLabs, Light Field Lab, Otoy and Visby — created IDEA to serve as an alliance of like-minded technology, infrastructure and creative innovators working to facilitate the development of an end-to-end ecosystem for the capture, distribution and display of immersive media.

Such a unified ecosystem must support all displays, including highly anticipated light field panels. Recognizing that the essential launch point would be to create a common media format specification that can be deployed on commercial networks, IDEA has already begun work on the new Immersive Technology Media Format (ITMF).

ITMF will serve as an interchange and distribution format that will enable high-quality conveyance of complex image scenes, including six-degrees-of-freedom (6DoF), to an immersive display for viewing. Moreover, ITMF will enable the support of immersive experience applications including gaming, VR and AR, on top of commercial networks.

Recognized for its potential to deliver an immersive true-to-life experience, light field media can be regarded as the richest and most dense form of visual media, thereby setting the highest bar for features that the ITMF will need to support and the new media-aware processing capabilities that commercial networks must deliver.

Jon Karafin, CEO/co-founder of Light Field Lab, explains that “a light field is a representation describing light rays flowing in every direction through a point in space. New technologies are now enabling the capture and display of this effect, heralding new opportunities for entertainment programming, sports coverage and education. However, until now, there has been no common media format for the storage, editing, transmission or archiving of these immersive images.”

“We’re working on specifications and tools for a variety of immersive displays — AR, VR, stereoscopic 3D and light field technology, with light field being the pinnacle of immersive experiences,” says Dr. Arianne Hinds, Immersive Media Strategist at CableLabs. “As a display-agnostic format, ITMF will provide near-term benefits for today’s screen technology, including VR and AR headsets and stereoscopic displays, with even greater benefits when light field panels hit the market. If light field technology works half as well as early testing suggests, it will be a game-changer, and the cable industry will be there to help support distribution of light field images with the 10G platform.”

Starting with Otoy’s ORBX scene graph format, a well-established data structure widely used in advanced computer animation and computer games, IDEA will provide extensions to expand the capabilities of ORBX for light field photographic camera arrays, live events and other applications. Further specifications will include network streaming for ITMF and transcoding of ITMF for specific displays, archiving, and other applications. IDEA will preserve backwards-compatibility on the existing ORBX format.

IDEA anticipates releasing an initial draft of the ITMF specification in 2019. The alliance also is planning an educational seminar to explain more about the requirements for immersive media and the benefits of the ITMF approach. The seminar will take place in Los Angeles this summer.

Photo Credit: All Rights Reserved: Light Field Lab. Future Vision concept art of room-scale holographic display from Light Field Lab, Inc.

Bluefish444 intros Epoch 4K Neutron Turbo cards, bundles with Scratch

Bluefish444 is offering its Epoch 4K Neutron Turbo high-bandwidth SDI video I/O card, which brings video formats to the Epoch 4K Neutron range that accommodate 4K/2K high-bandwidth workflows. Introduced at the 2015 NAB Show, Epoch 4K Neutron Turbo features Quad Link 3G SDI, 3G/1.5G/SD SDI input or output, 4K/2K/HD/SD HDMI preview, 4K/UHD high-frame-rate 50/59/60 fps SDI, tri/bilevel genlock, eight channels of AES/EBU audio input and output, two channels of analog audio monitoring output, RS422 machine control and auxiliary genlock connection.

The company has created an upgrade path for existing Epoch 4K Neutron customers who do not initially need the Turbo’s advanced 4K/2K video mode support. Those customers can buy the Epoch 4K Neutron Turbo upgrade board anytime within two years of purchasing their Epoch 4K Neutron video cards. Epoch 4K Neutron Turbo and the Epoch 4K Neutron Turbo upgrade boards are compatible with both the Bluefish444 cross-platform SDK and the Bluefish444 retail installer, which supports popular Bluefish444 and third-party software.

In related news, Bluefish444 announced the immediate availability of an Epoch 4K Neutron and Assimilate Scratch v8 software bundle.

For the bundle, Bluefish444 has redesigned the Epoch 4K Neutron card with a low-profile, half-height form factor to integrate into a wide range of chassis, from low-profile servers to small-form-factor computers to low-profile Thunderbolt expansion chassis. The full-height shield option allows for integration in more traditional workstation computers and provides additional I/O requirements, such as AES/EBU, RS422 machine control, and domestic analog audio monitoring. Epoch 4K Neutron supports 3G SDI I/O configurations for 4K SDI workflows. An HDMI mini connector provides a lower cost 4K/2K/HD/SD HDMI monitoring preview and allows for color-critical monitoring on consumer HDMI displays supporting Deep Color.

Epoch 4K Neutron supports Scratch v8 features such as 4K 30fps HDMI monitoring, 8-bit/10-bit/12-bit SDI monitoring, 4K/2K/HD/SD mastering and monitoring, stereoscopic SDI output, 12-bit-precision color-space conversions, and many more. The Epoch 4K Neutron Turbo upgrade path enables previews of 4K 48/50/59/60 fps SDI signals and stereoscopic 2K/HD 60 fps 12-bit SDI signals.

In Related News
Also at NAB, Bluefish444 announced it has added support for greater-than-HD video formats in Avid Media Composer 8.3, enabling advanced SDI/HDMI video output with Epoch 4K Neutron Turbo, the Epoch 4K Neutron range, and the Epoch 4K Supernova/S+ range of video cards. At the same time, the company has developed support for Avid Pro Tools 12, enabling video output with Epoch 4K Neutron, Epoch Neutron, and the Epoch 4K Supernova range of video cards. SDI and HDMI video preview capability will enable audio editing with real-time, synchronized video on pro displays and projectors. A free software upgrade for Avid Media Composer 8.3 users and a free driver upgrade for Avid Pro Tools 12 users will both be available from the Bluefish444 website in the second quarter of 2015.

Finally, Bluefish444 will support the latest updates to Adobe Creative Cloud when it becomes available in spring 2015.

Codex offering compact camera-to-post package Action CAM

London — Codex  will be at NAB 2014 with Action CAM, an ultra-compact, all-in-one, digital cinema camera and recording package for 2D and 3D stereo production — it is scheduled to ship this summer.

Codex Action CAM, designed as an action/POV camera for use on spots, television and film productions, is an high-definition shooting, capture, transcoding and data management solution for situations that need a small camera with low weight.

Codex Action CAM is capable of shooting RAW at up to 60fps and resolves the common Continue reading

Blackmagic updates DaVinci Resolve to Version 10.1 

Fremont, California — Blackmagic Design has released a new version of its DaVinci Resolve software. V.10.1 adds new editing and 3D stereoscopic features as well as support for Final Cut Pro X 10.1. DaVinci Resolve 10.1 is available now for download free of charge for existing DaVinci Resolve customers from http://www.blackmagicdesign.com.

The DaVinci Resolve 10.1 update adds editing features that include allowing users to preview and align multiple camera takes while editing, so they can quickly switch between takes to show their clients shot options live from the timeline. Editors can now copy individual clips in the editing timeline with a simple drag and drop, making it easier to use the same footage in different parts of the edit.

The enhanced editing tools also include support for trimming frame based clips such as DNG and DPX that reduces time in transferring clips for even faster workflows, as well as Rich Text title support which allows every character’s size, position and color to be adjusted individually directly from the Edit page.

Also featured in DaVinci Resolve 10.1 are XML import enhancements for both FCP X 10.1 and FCP 7 customers. Compound clips from FCP X 10.1 with separate A/V elements are now split into individual clips and imported FCP 7 XML’s include font properties and timeline markers as well as being able to bring across sizing, cropping and composition parameters. Now shot reframing adjustments made during Final Cut Pro editing will translate even more accurately into the DaVinci Resolve timeline.

Customers with the full software license of DaVinci Resolve will get enhanced 3D stereoscopic tools including a full stereoscopic multi track editing timeline, enhanced convergence adjustments and automatic alignment.

“We are really excited to be adding even more advanced editing features so quickly after the release of DaVinci Resolve 10” said Grant Petty, CEO, Blackmagic Design. “Resolve 10 has been a massive update with over 50 new features including temporal processing, Open FX Plug-ins and powerful onset tools. The additional editing tools we are releasing today give customers more precise control over their projects from within the DaVinci Resolve timeline and improves integration with popular editing and visual effects software so that customers get the best workflow possible.”

 

Montréal’s studio Post Kopic invests in Mistika system 

Montreal — Studio Post Kopic, a boutique studio specializing in the creation of 2D and stereoscopic 3D content, has expanded its service offerings with the purchase of a Mistika DI Post Production System from SGO.

Nicofficial-SPK (603x640) (2)

Nicolas Fournier

Headed by veteran editor Alain Baril (pictured, top) and partner/digital artist Nicolas Fournier, Studio Post Kopic (www.studiopost-kopic.com) said this investment reflects its desire to push the envelope and offer alternative innovative and creative ways for post production finishing for film and broadcast.

CEO/editor, Alain Baril, said, “We are delighted to be the first company in Montréal to own world-leading SGO creative innovation. Mistika has effectively influenced and enhanced our current business model to enable us to become even more competitive with budget spend allocated on the screen  and not on the overheads, which makes a significant difference to our profit margins.”

Current Studio Post Kopic projects include the film Stealing Alice directed and produced by Marc Séguin. OutSideIn, is a short stereo 3D film directed and produced by Newfoundland filmmaker Anne Troake about an up, close and personal look at the dancing human body in natural environments.

With Sherbrooke University, Studio Post Kopic have also developed a stereoscopic 3D robot to capture RAW 2K DPX files. Blended with Mistika, a full package will be available early next year in order to produce high quality stereo 3D content, which will also be available for the benefit of the world-wide Mistika community.

“In the current economic climate, larger post facilities are having to restructure themselves in order to survive and producers are no longer interested in a ‘hypermarket-style’ service,” concluded Baril. “As a “boutique” post facility, the timing is perfect for us to move forward with Mistika in order to offer cutting-edge innovation, technologies and methods that provide that personal service that clients relish.”

Studio partner Nicolas Fournier, will be trained by SGO staff in Madrid next month.

OutSideIn (2)

OutSideIn: the studio used a PS technik micro rig plus Flare cams from IO Industries, and a 1 Beyond mini wrangler. The micro rig allows them to film very close to the object. It’s also easier to move around.