MOG Solutions at IBC

MOG Solutions offers a diverse, award-winning product family of powerful MXF and GXF tools that enable accelerated development and migration to the next generation of IT-based multimedia content applications.

TOBOGGAN MediaTransfer
TOBOGGAN MediaTransfer seamlessly moves MXF media coming from systems such as Sony XDCAM, Panasonic P2, Thomson GV Infinity, Ikegami EditCam and others (Video, Audio and Metadata) into AVID systems. TOBOGGAN is now equipped with the new Direct-Write technology which enables generation of fully compliant AVID MXF OPAtom files, which are written by TOBOGGAN directly to AVID Workspaces.

Devices such as Sony XDCAM already come equipped with the ability to generate EDLs with tools such as Sony XDCAM PDZ-1 by using low-resolution video. You can now just drag those EDLs into TOBOGGAN, and it turns your Low-Resolution EDLs into full-blown AVID Sequences complete with the High-Resolution material.

mxfSPEEDRAIL
mxfSPEEDRAIL is a rack server product that targets ingest material into post-production environment. It takes as input both file-based content as well as SD-SDI and HD-SDI feeds.

mxfSPEEDRAIL detects MXF content attached devices such as Sony XDCAM, Panasonic P2, GVG Infinity or Ikegami EditCam. mxfSPEEDRAIL can also find input content on network drives and FTP servers. Users can login as Ingest Operators to schedule transfers to post-production environment such as Avid Unity/Interplay. Users can also schedule capture of material from the SDI/HDSDI sources. Both High-Resolution files as Low-Resolution (for previewing) are generated on-the-fly and checked-in linked into AVID Interplay.

mxfSPEEDRAIL can be configured with pre-defined levels of storage. Users can preview material on a web browser and edit metadata including timecode accurate scene logging and description.

MXF::SDK and MXFComponentSuite
MOG is a leading provider of MXF solutions. Their flagship and award-winning products, MXF::SDK and MXFComponentSuite, have been chosen by the industry as the best solution to easily integrate directly with a number of file-based camera systems, broadcast servers and automation systems that are already MXF aware. New plug-ins for AVID DNxHD, AVC (H.264) and the support for Generic Streams Partition (SMPTE 410) are now available.

Bright Systems - BrightClip

BrightClip Intelligent Data Recording Technology provides superior disk recording and playback of media within the digital postproduction environment by eliminating the need for disk optimization bringing unprecedented stability and predictability to digital workflows.

The Need for BrightClip
With the transition of film and television to file-based, data-centric operations, there exists the need for smooth, reliable, and predictable recording and playback of media files in many formats and resolutions. Standard, off-the-shelf IT technologies do nothing to prevent randomization of file content over time and can cause performance to drop by as much as 95% from the underlying disk system. This can mean a disk system capable of delivering 3,000 MB/s may drop to 150 MB/s or less. Essentially, when file content is randomized, every component in the system, from the RAID controller, to the requesting software application, must wait for the physical disk to reach the exact location of each content section.

The BrightClip Solution
BrightClip is the world's first recording technology designed to prevent entropic randomizing, thereby achieving the industry's need for predictable and reliable recording and playback. As media is accessed between the different postproduction processes, BrightClip employs advanced, sophisticated technology to ensure optimal physical placement on disk. Rooted in video disk recording technology, BrightClip was designed specifically for digital postproduction and DI workflows where multiple processes are the norm enabling superior performance and reliability, better use of resources, and faster, predictable project turnaround times.

BrightClip supports out of sequence frame writing, making it a must-have for render farm and other data-intensive creative applications. In a render farm scenario, frames trickle into a BrightClip generic area out of sequence as each render node completes them. BrightClip's 'watch' function (BCW) sees the frames appear and relocates them to BrightClip's reserved area. Frames are ready for import or playback as soon as they are rendered, and because they are re-sequenced by BrightClip, no optimizing is needed.

BrightClip supports simultaneous recording of the same or mixed formats. All file formats are supported natively which means there is no need for transcoding. Frames sizes can be fixed or variable.

BrightClip can be set up for use with applications either direct through API, or indirect through an administrative interface. With the API, an application developer has full access to all recording functionality within their application. Alternatively, if an application is not BrightClip-enabled, an administrator can set up or script tasks to create a BrightClip. BrightClip files appear as normal alongside regular project and other files, making their use entirely transparent.

intoPIX at IBC

At IBC, intoPIX is showcasing a wide range of JPEG 2000 IP-cores and demonstrating the new JPEG 2000 Development Kit running on the Omnitek AVDP platform. intoPIX solutions are specifically designed for video acquisition, post-production, contribution, storage and archiving.

Acquisition & Production
Ultra flexible range of JPEG 2000 encoder and decoder IP-cores able to encode or decode at 1080-60i, 1080-60p, 4:2:2 or 4:4:4, 10 bits.

Contribution
End-to-end low or ultra-low latency JPEG 2000 solutions at visually lossless compression with bitrates that range from 50Mpbs to 1Gbps, 4:2:2 or 4:4:4 full HD.

Archiving & Storage
JPEG 2000 encoders & decoders going up to mathematically lossless compression, handling any image resolution from HD up to 4K+ image with a color depth going up to 16 bit.

DCI (v1.2)
AES encryption & JPEG 2000, fully compliant with the Digital Cinema Initiatives.

Beyond DCI
JPEG 2000 solutions going beyond DCI with higher frame rates, higher image resolution and higher code stream bit rates.

3D TV Without the Goggles

A Sydney internet cafe is the first venue in Australia - and among the first in the world - to install high-tech computer monitors capable of displaying games and movies in 3D without forcing the user to wear special 3D glasses. Customers of Beyond Internet Gaming, which is located below the movie cinemas on George Street, can from today play a variety of video games in full 3D with images appearing to pop out of the computer screen.

While 3D entertainment has been trialled for years without much success, doing away with cumbersome glasses - coupled with advances in PC processing power - is expected to propel the technology into the mainstream. Hollywood has already begun migrating to 3D. The first 3D film was Chicken Little in 2005, followed by titles including Meet the Robinsons, Beowulf and Journey to the Center of the Earth. James Cameron's highly-anticipated Avatar, due out next year, will be 3D-ready. DreamWorks Animation and Disney/Pixar have both announced that, from next year, all of their animated features would be released in 3D.

But until now, in order to view any of the 3D films, it was necessary to find a rare 3D-equipped cinema or invest thousands of dollars in professional equipment. Today, home computers are powerful enough to support films and video games rendered in 3D.

NVIDIA, the world's largest maker of computer graphics cards, this week unveiled technology allowing people to play games in 3D provided they wore special glasses - like those found at an IMAX theatre - and used a 3D-ready display.

But Australian company 3D Motion, which owns the Beyond Internet Gaming cafe, has managed to avoid glasses altogether by effectively building them into the computer screen itself. The technology - known technically as autostereoscopy - was provided by 3D Motion's Chinese parent 3D Group, which in turn licensed it from a German company. Philips and Samsung have demonstrated TVs using the same technology but have not announced plans for a consumer rollout.

3D Motion plans to sell its monitors directly to consumers but is testing the technology at the internet cafe to determine whether there is a market for it. For $4.50 an hour, customers could hop onto one of 10 3D-equipped computers and play a range of video games that have been ported to 3D by the company. The list of supported games includes Call of Duty 2, Counterstrike: Source, Half Life 2: Deathmatch, Need for Speed, Unreal Tournament and World of Warcraft.



Gamers use the 3D Motion screens at Beyond Internet Gaming in Sydney

3D Motion is also shopping the monitors around to commercial operators such as advertising and marketing firms. The only similar 3D screen installation in Australia at present is a 52-inch display in the reception area of Telstra's Executive Briefing Centre in Melbourne. However, this simply loops short advertising clips.

The technology was first used for simulation exercises by the military but could also be applied to medicine, design and education, 3D Motion director Ben Liu said.

"Right now purpose built [applications] is fine - just for playing games or just to do digital signage, that's perfect - but to actually go to home use where you can switch between 2D and 3D and do all the things you can do on one monitor, is still another half year or year away," he said. Liu said manufacturing costs had already dropped 30 per cent in the past year and within 12 to 18 months, people would be able to buy a 3D Motion display for around 10 per cent more than a regular 2D screen.

In China, 3D Motion's parent has sold the displays for use in shopping malls, nightclubs, karaoke clubs, subway stations, internet cafes and concerts. For Australia, gaming has been identified as the technology's first killer application. Liu said traditional arcade machines with 3D screens would be installed in his internet cafe from mid-September.

With the attention of gamers now focused on the Xbox 360, PlayStation 3 and Wii consoles, and most remaining PC gamers opting to play from home over their broadband connections, the popularity of internet cafes is waning. Liu hopes the 3D technology will give his cafe a competitive advantage and entice players to keep coming back. However, he conceded that some people suffered eye strain and headaches after long periods in front of the 3D screens.

"Gaming is always more fun when you play with friends actually together," Liu said. "I still see internet cafes as being a community ... it's really about bringing all the people here together and having fun."

By Asher Moses, The Age

Electrograph Premieres USA’s First Residential 3D Gaming Systems

Electrograph Systems, a leading national distributor of display technology products and services, will premiere the USA’s first residential 3D gaming system with the Philips 3D WOWvx 42” LCD display during CEDIA EXPO, September 4-7, 2008, in Denver, Colorado.

3D Effects Without Special Viewing Glasses
The Philips 3D Solutions WOWvx display and proprietary software drivers create a system that is capable of running many of the PC-based games on the market. Far superior to systems that use special red/green glasses or helmet-based virtual reality, the gaming experience is far less confining and can accommodate multiple players in a wide range of viewing angles while producing a real “out-of-screen” 3D effects.

Marketed for professional use in digital signage applications, the 20” (20-3DW02) and 42” (42-3D6W02) displays also offer 3D action for gamers. The 3D LCD monitors from Philips 3D Solutions use WOWvx technology, which makes content richer, more exciting and more entertaining for the viewer. Using multiview lenticular technology, the displays are based on a full high-definition 1920x1080 LCD panel resolution and offer 1500:1 contrast as well as true-color representation. Integrated display signal processing provides full control over the quality and depth effect characteristics of the picture.

Source: Electrograph

I Want my 3D TV!

At IFA today many companies are showing off their attempts at 3D TV. Most of the displays being shown are not yet designed for home use, and instead are being positioned as business applications: in-store signage and advertising, architecture and CAD displays, and prototype user interfaces. Most of the televisions require no glasses, and produce a reasonable 3D display. In the displays I’ve seen, there are a few “sweet spot” viewing angles that produce an acceptable 3D display, and viewing from an angle just a little off from these shows the individual stereoscopic images just slightly off alignment from one another.

There are several competing technologies for displaying 3D images on a 2D surface. The one I learned about at the Philips Research Center is called “2D + depth + occlusion”, and obviously Philips thinks its the best. As these things usually go, it’ll probably be the major Hollywood studios that make the final decision about which format is declared the victor for the entertainment sector.




The Epson booth was sporting a 3D projector, rather than a display. And when I say “projector” I really mean “projectors” because their system uses two projectors to display each of the images necessary. And for this, you still need to wear glasses.

Epson wasn’t alone relying on glasses to provide a 3D experience: Samsung’s also has a display that requires them. The folks below look absolutely thrilled with the technology, as you can see:





It looks like true 3D television is still a couple years away.

By Scott Merrill, CrunchGear

CBG on the Road to 3-D

Cinema Buying Group, which represents independent theater owners, hopes to soon begin deploying digital cinema and digital 3-D. Of course, that deployment is contingent on installing a digital-cinema system. CBG's d-cinema systems are expected to begin deployment in October through Access Integrated Technologies, according to AccessIT CEO Bud Mayo. Separately, CBG has inked a deal with RealD to provide digital 3-D installations to its member companies.

CBG is a National Association of Theatre Owners-administered program that represents 643 members with 8,125 screens in the U.S. and Canada. The group represents nearly 20% of the screens in North America, and thus its decisions are key to advancing the d-cinema rollout.

The nonexclusive deal with RealD represents roughly 1,000 screens, which the company hopes to install in the next 24 months. RealD plans to begin on 100 CBG systems immediately. Financial terms of the 3-D licensing agreement were not disclosed. The RealD/CBG agreement underscores lingering challenges of the d-cinema transition.

AccessIT is planning to install d-cinema systems to all CBG theaters, with a majority of the 8,000-plus theaters represented in the d-cinema provider's "Phase 2" deployment plan. AccessIT's "Phase 2" program has already established virtual print fee deals with Disney, Fox, Paramount and Universal.

By Carolyn Giardina, The Hollywood Reporter

3D Front Projection Screen Takes Center Stage in Da-Lite Theater

Da-Lite Screen Company will introduce the ultimate in 3D projection screens with the launch of its’ new 3D Virtual Grey front projection screen fabric. Designed exclusively for feature film studio 3D post-production and ultra high-end home theater systems, 3D Virtual Grey represents the state-of-the-art in 3D front projection screen technology.

“By virtually eliminating cross talk or “ghosting” 3D Virtual Grey has set a new standard in 3D polarization,” commented Blake Brubaker, Da-Lite Vice President of Sales. “In the past, the biggest obstacle in passive 3D stereoscopic projection was the ability of the projection screen to retain or “hold” the polarization of the image on the screen. With the introduction of 3D Virtual Grey we are able to “hold” 99 percent of the polarized image for a fantastic viewing experience.”

The proprietary 3D projection screen material was developed by Da-Lite’s chemists and engineers in their Blue Ash, Ohio facility. The introduction of the 3D Virtual Grey material at CEDIA EXPO 2008, follows the world premiere of the companion 3D rear projection screen fabric, 3D Virtual Black at InfoComm 2008 in June.

“3D Virtual Grey provides the home theater owner with the technology to watch the latest 3D major studio releases when combined with the appropriate passive stereoscopic filters and digital projectors and glasses,” continued Brubaker. “With more and more major films being produced in 3D, Da-Lite wanted to get ahead of this coming trend with a projection screen that provides superior results for home theater applications as well as for demanding 3D post-production studio facilities.”

Other major benefits of 3D Virtual Grey include a gain of 1.3, viewing half-angles of 11 degrees and seamless 16-foot height. 3D Virtual Grey also features Da-Lite’s exclusive black backing which minimizes image “bleed-through.” 3D Virtual Grey is a high contrast material that outperforms any other 3D silver fabric.

Source: PostProduction Buyers' Guide

MXF4mac - Native and transparent MXF products for the Mac

The MXF4QT component series is our flagship for direct and fast access of MXF assets on the Mac. There is no more need to convert compatible MXF media to the QuickTime file format. Instead we use the real strength of the QuickTime technology by providing MXF format components that integrate seamlessly into the powerful multimedia architecture of Mac OS X. No other standard desktop computer system provides this kind of open MXF integration.

In addition you can use our free MXF Info Light utility to perform basic analyzing of MXF assets. The tool can be used independently from our MXF4QT products and allows you a deeper look inside your MXF media. MXF Info Light is based on our exclusive, unique, and independent MXF analyzer that we use internally for development and support. The free utility is now available for the first time on the Mac in addition to the PC version.

Source: MXF4mac

Digital Camera Comparison Chart

Tom Fletcher provides a very interesting chart on the vast array of electronic cinematography camera systems available today.

RED Support, High-Speed Conforming and DCI Mastering with DVS

At IBC visitors to the DVS stand will learn how to accelerate their workflows with CLIPSTER. Amongst other features, the DI workstation now offers high-speed SDI output, and encoding of JPEG2000 material for DCI processes at nearly double real-time speed. CLIPSTER enables users to decode and edit RED camera generated content, and additionally offers many new timesaving features for conforming.

With RED's SDK release, CLIPSTER supports the direct decoding of REDCODE RAW material in the timeline. R3D files can be combined with other file and video formats, thus providing a flexible workflow for data handling. Furthermore, CLIPSTER offers the complete integration of RED metadata which accelerates the conforming process.

In the DCI Mastering process, CLIPSTER allows users to automate all DCI steps from the DSM (Digital Source Master) to the DCP (Digital Cinema Package) with JPEG2000 playing a key role. With CLIPSTER, this process can be completed at nearly double real-time speed. If digital film data has already been stored as file sequences on a SAN or another fast storage medium, CLIPSTER users can create an entire 120-minute long-format DCP within approximately one hour. CLIPSTER creates the Digital Cinema Package directly from the Digital Source Master all in one step.

CLIPSTER is based on an open file system but also allows for database-oriented work. The new comprehensive conforming tool is database aware. The DI workstation automatically searches the entire storage volume for the high-resolution material in no time at all. These searches are not restricted to local media and can be extended to include all other systems connected to the Spycer network. The high-speed copying process allows users to selectively copy, autoconform and process A/V material on the DI workstation using an EDL. The conforming tool offers users a split screen view to check offline and online editing with frame-by-frame precision via HD-SDI out. With the high-speed 3 GB/s SDI I/O interfaces in CLIPSTER, users can for instance play out and record 1080p material by means of a single link signal and thus eliminate the need for an additional cable.

Source: BroadcastBuyer

ITRI Invents Multi-Viewer Auto-Stereoscopic Display Technology

The Industrial Technology Research Institute (ITRI) has developed technology that allows auto-stereoscopic display for multiple viewing, sources at the Hsinchu-based institute announced Thursday.

Stereoscopic display is a method that enables viewers to see stereoscopic images; however, such a display requires the viewer to wear special goggles or glasses to see the images properly. Auto-stereoscopic displays create a stereoscopic effect that the viewer can perceive without glasses, but the existing technology allows only one person to see the image at a time.

The ITRI researchers who developed the technology said the conventional auto-stereoscopic display devices have a limited viewable angle of 5 degrees, which limits the total viewership. "The new technology widens the viewable angle up to 60 degrees, allowing multiple individuals to view the images simultaneously," they said.

The researchers estimated that a commercial multi-person auto-stereoscopic display will cost about NT$60,000 (US$1,900) to NT$80,000 for a 42-inch TV screen, while an auto-stereoscopic set of the same screen size usually costs up to NT$139,566 on the European market.

The research group said that a couple of private companies have already contacted the ITRI to discuss cooperation in technology transfer, and that commercial versions will enter the market in two to three years.

By Zep Hu, Taiwan Headlines

MikroM at IBC

MikroM presents at IBC 2008 products and workflows from the fields of Broadcast, 3D recording and Presentation. For Presentation we show the new JPEG2000/MPEG-2 Player called MVP200 that features perfect picture quality at 2K over HD-SDI and DVI also for 3D (stereoscopic) Cinema. The featured 3D workflow combines two Cunima cameras of WIGE with MikroM’s portable Field Recorder Megacine. Its uncompressed recorded material is transferred to the IT back-up system using MikroM’s software MediaPort and there converted into JPEG2000 MXF by MikroM’s MediaEncode software. The playout is done by the MVP200.

Source: MikroM

Taiwan`s ITRI Teams Up With Japanese and Korean Institutes to Develop 3D Image Technologies

Taiwan`s government-funded ITRI (Industrial Technology Research Institute) recently announced an alliance with Japan`s URCF (Ultra-Realistic Communications Forum) and Korea`s ARMI (Association of Realistic Media Industry), which will focus on development of 3D (3-dimension) image and animation sectors in the three countries.

ITRI noted that 3D image technologies have been increasingly important and popular in the world in recent years, as some international organizations, like DVD Forum, a multinational organization created to facilitate the exchange of information and ideas about the DVD format, have been dedicated to research and development of 3D image formats and related standards.

At the moment, several advanced countries in Europe, North America and Asia have heavily planned to bolster development of their local sectors related to 3D image technologies. To help Taiwanese companies meet the newest trend, ITRI last year formed an alliance composed of local display panel makers and 3D system developers to work on 3D technologies, and this year signed a memorandum of understanding with Japan`s URCF and Korea` AMRI to jointly hold an industrial forum, called International Conference of 3D systems and Applications (3DSA), annually starting 2009. The forum is expected to become an open platform for Asian companies operating on 3D image technology to exchange the newest ideas and improve the technology.

Also, ITRI has held a series of demonstrations of products based on 3D technologies developed by local and foreign companies, including Chunghwa Picture Tubes Ltd., AU Optronics Corp., Chi Mei Optoelectronics Corp., Philips and Dynamic Digital Depth.

By Steve Chuang, CNES

Mitsubishi - A New Dimension in DLP Entertainment

"Mitsubishi focuses on DLP Home Theater Televisions in 60", 65", and 73" screen sizes that provide complete 3D solutions for an incredible home viewing experience."

Mitsubishi's incomparable commitment to excellence is evident in recent television introductions that include a complete 3D solution for the home entertainment market. For the first time ever, high-value 3D content will become available to the home consumer in one convenient package, thanks to a unique agreement among Mitsubishi, NVIDIA and Aspen Media Products.

"Each of our 3D Ready large-screen DLP HDTV's feature a slim design, lightweight construction, and energy efficient operation," said Frank DeMartin, Vice President of Marketing for Mitsubishi. "The first 3D content will be PC video games, followed by movies, then later sporting events and television sitcoms or other broadcasts."

Another exciting introduction is Mitsubishi's LaserVue TV.

"LaserVue will raise the bar for large screen television by delivering twice the color at half the power of today's HDTVs while at the same time providing an unparalleled 3D viewing experience. Mitsubishi has effectively engineered laser beams to function as the ultimate light engine for this premium large screen television product. Making laser TV a reality represents another history-making milestone in a long legacy of industry firsts for Mitsubishi."

Laser beams provide the widest range of rich, complex colors, along with the most clarity and depth of field. Precise and focused, the purity of laser light far surpasses current high definition technologies.

Source: RTO Online

Sony to Introduce Quadruple Frame Rate LCD-TV in November

On November 10, Sony will introduce a 46-inch LCD-TV with a frame rate of 240 Hz, the world’s first. The set will sell for about ¥400,000 in Japan. That compares with on-line U.S. prices in the vicinity of $2300 for the company’s high-end KDL-46XBR4 with 120Hz frame rate.

Motion blur remains the Achilles heel for large-screen HDTVs relative to plasma and OLED (if there were any large-screen OLED-TVs to worry about). The problem has two sources. The first is cell-response time, and tremendous progress has been made with that. The second is the sample-and-hold nature of LCD addressing, which would produce motion blur even if cell response were instantaneous. The current approach is to reduce the hold time, which is done by fabricating extra frames between the 60 frames your digital broadcaster or cable company sends to you each second. Today’s high-end sets double this basic frame rate and give you 120Hz. That certainly reduces motion blur but doesn’t eliminate it, and 120Hz LCD-TVs do not do as well as a good 60Hz plasma on motion blur — as LG’s plasma unit delighted in demonstrating at last year’s Flat Panel Display International.

So the next step is 240Hz. I look forward to seeing how effective Sony’s implementation is, and to finding out how Sony gets the liquid-crystal material to respond quickly enough to make the quadruple frame rate meaningful and how it creates three fabricated frames for each "real" frame with unique content that comes down the pipe.

By Ken Werner, DisplayDaily

Groups Take in Depth Look into 3D Television

The Blu-Ray Disc Association is in the process of developing a position on stereoscopic 3D. The Association’s activity is at least partially in response to growing pressure from Hollywood studios desirous of creating a home video market for their rising number of stereo 3D movies.

"There are discussions going on right now, and we are putting together a public statement," said Andy Parsons, Senior Vice President, Advanced Product Development, Pioneer Electronics (USA) Inc. and Chairman of the Association’s Marketing Group.

Theoretically, the Blu-Ray group could take one of two broad approaches to stereo 3D. It could decide to just pass through any 3D data on a disk to HDMI ports, letting the TV render it. Alternately, the 3D information could be rendered locally which would require a significant addition to the Blu-Ray specification. If the Association opts for the later approach it will need to define a standard format. In either case, the Association wants to make sure any 3D approach is compatible with its existing specification for 2D content.

The separate right and left eye images required for stereo 3D typically require significantly more bandwidth than 2D images. This, in turn, creates difficulty for broadcast delivery. For this reason, many see Blu-Ray as the likely first vehicle to deliver stereo 3D movies to the home. With this case, a standard format is needed. If everything goes perfectly, this could happen in 2010 or 2011. That is, assuming that there isn’t a format war.

Blu-Ray players and titles are just beginning to ramp up in the wake of Toshiba’s decision earlier this year to abandon the rival HD-DVD format. About six million Blu-Ray players have shipped into the U.S. to date, most of them embedded in Sony Playstation3 consoles. About 900 Blu-Ray titles are now available, more than double the number out just six months ago.

The Blu-Ray Association is not alone in thinking through issues related to 3D at home. At least four other industry groups were formed just this year to explore standards for stereo 3D on television:

- The Society of Motion Picture and Television Engineers (SMPTE) recently held a meeting to form a task force to explore a 3D content mastering standard.

- The Consumer Electronics Association will hold a meeting in October to determine if it should try to set standards potentially covering TVs, set-top box and disk players.

- The 3D@Home Consortium has gathered members from as many as 30 companies and organized to facilitate the development of industry standards and their dissemination, create and publish useful technical roadmaps and develop educational materials for training, consumer and retail channels.

- The Entertainment Technology Center at the University of Southern California has formed a 3D working group chaired by a representative from Dolby Labs. It aims to define the core issues for driving 3D content into the home. The lab is courting technology companies to install a broad range of existing 3DTV gear at the lab for tests and demonstrations.

In addition, Insight Media recently published an industry report entitled 3D Television Report.

Since 2007, studios have released or put on the drawing board as many as 80 stereo 3D movie titles. There will be more to come. The most recent word on that topic was spoken at the recent Intel Developer Forum. Dreamworks co-founder Jeffrey Katzenberg said all his studio’s animated movies starting next year will be created and available in stereo 3D, a shift he said was as significant as the transitions to talkies and color.

If I were a betting man, I would lay down money that 3D in the home is really - at long last - going to happen. The only question is: how fast will it happen?

By Art Berman, DisplayDaily

FrameCycler Goes Stereo 3D

IRIDAS, which first introduced its stereo 3D playback technology five years ago, has announced that DualStream will now be included standard with all versions of FrameCycler, starting with the 2008 versions. Recently used in the VFX pipeline for Journey to the Centre of the Earth 3D, and in finishing work on U2 3D, demand for IRIDAS DualStream technology has grown with the rapid increase in stereo 3D product work. Now artists and facilities can use the playback software they are already rely on without the added expense of new software components.

Playback with DualStream is no different from standard 2D content. Users simply add one eye onto the timeline and the other loads automatically. The technology supports all standard stereo 3D display technologies, including dual SDI, dual DVI, shutter glasses, anaglyph, and pattern mode for new DLP televisions such as the Samsung line.

DualStream stereo 3D playback technology is included with FrameCycler Professional 2008, FrameCycler DDS 2008 on the Mac OS X, Windows, and Linux platforms. FrameCycler DI 2008 includes stereo 3D playback and inter-ocular adjustment tools.

Source: IRIDAS

Australian Exhibitors High on 3-D

3-D cinema is set to dominate at the Australian Intl. Movie Convention Aug. 31-Sept. 4 on Queensland's Gold Coast. Presentations from Disney and Paramount DreamWorks, especially, will feature slates bulging with enhanced product. Nielsen EDI will give a presentation on the future of 3-D, and film supplier Atlab has convened a nine-person panel to chew the issue.

Exhibs, finally, are interested. The dozen 3-D titles queuing for release this year and next have given them reason to upgrade their sites. While distributors have agreed to pay virtual print fees, the details of how such a system will operate have not been settled.

"Digital is going to be a wonderful thing for us all," says David Pye, chairman of Western Australia's independent four-site, 23-cinema Ace circuit. Pye is an early adapter who financed an A$150,000 ($135,000) digital 3-D outfit for one cinema in his Midlands eightplex. In Oz, he's a rarity. Just 40 of Australia's 1,941 screens are digital compliant, of which a mere 24 are 3-D enabled.

"There's so much product coming through in the next year, I thought if I can get in early, hopefully I can pay it off," Pye says.

Dominant Oz loops Hoyts and Greater Union each have a 3-D cinema in Perth too. That's three cinemas for a booming city. Pye is looking forward to the release of Journey to the Center of the Earth -- "It's going to be the big one for us," he says, adding that U2-3D didn't really work for his theater, but Hannah Montana 3-D did well. Journey opens Sept. 25, followed by Disney's animated Bolt, then DreamWorks Animation comedy Monster vs. Aliens on April 2, 2009.

Imax and Hoyts last month announced a plan to launch four co-branded cinemas in Australia; Imax Asia managing director Don Savant says there will eventually be up to 15 sites here. Australia's exhibition industry is dominated by Hoyts, Greater Union/Birch Carroll and Coyle and Village Cinemas. It's these companies that must flick the switch to digital. And, in fact, it's digital, rather than 3-D that may move the large exhibs.

"The 3-D thing right now is flavor of the month, but digital cinema generally is going to be a smarter, better system," Stephen Basil-Jones, managing director of Sony Pictures Releasing and deputy chair of the Motion Picture Distributors Assn. of Australia, says.

By Micharla Boland, Variety

Apple ProRes QuickTime Decoder 1.0

The Apple ProRes QuickTime Decoder software allows both Mac and Windows users to play Apple ProRes files through QuickTime. Apple ProRes is a visually lossless format that provides uncompressed HD quality at SD data rates. It is an excellent choice for mastering and can easily be transcoded to distribution formats like H.264. With new support for playback on both Mac and Windows computers, Apple ProRes can also be used for review and approval of Final Cut Studio sequences.

Apple ProRes QuickTime Decoder 1.0 for Mac
Apple ProRes QuickTime Decoder 1.0 for Windows