Cisco Delivers Advanced Network-Based Media Processing Platform

Cisco announced a media processing platform that simplifies live and on-demand media sharing across PCs, mobile devices and other digital screens, by seamlessly formatting video and rich media for viewing on any device. The create once and share anywhere Cisco Media Processing platform provides media conversion, real-time post production, editing, formatting, and network distribution capabilities in a single networked solution to help businesses develop targeted visual communications that drive intimacy with employees and customers.

The first product being introduced within the Cisco Media Processing portfolio is the Cisco Media Experience Engine 3000 ($65,000), which delivers the ability to transform a single source of content so that it is playable on any device. It also delivers real-time post production and processing capabilities such as watermarking, voice and video editing, text and image overlays and noise reduction to create customized broadcast quality video experiences. Cisco plans for future devices in its new media processing line to include speech recognition that will allow real-time translations of live video conferences and keyword searches of what's said during such videos.

Cisco's business video strategy combines systems and services, using the network as the platform, to help enable video solutions that create powerful visual networking experiences across multiple devices. The Cisco MXE 3000 joins a new class of media-optimized technologies and solutions that enable better video experiences, faster delivery of rich media content and simplified media sharing across the network. These "medianet" technologies will enable exciting, advanced communications, collaboration and entertainment experiences through video- and rich media-optimized service provider, business, and home networks, known as "medianets."

Source: MarketWire

Streambox Releases HD/SD Encoder

Streambox has launched Streambox SBT3-9200 HD/SD Video Transport Encoder, the company's next-generation solution for HD/SD newsgathering, broadcasting, and video post-production. The SBT3-9200 can be operated in HD or SD mode, enabling the user to capture, transmit, and play out live and file-based video. The encoder provides stunning 1080i/720p/1080psf HD video at data rates from 256 Kbps to 30 Mbps and SD video from 64 Kbps to 15 Mbps.

The SBT3-9200 encoder has been developed to meet the performance and quality requirements of customers in a variety of industry sectors. Movie and post production companies, for example, are using the SBT3-9200 to transmit high-quality live HD and SD video over low data rate IP networks as a way to accelerate and enhance editing processes such as color correction. With the Streambox solution, video editors are able to send the edited video file over IP in real time and gain immediate feedback and approval from clients who may be located in different time zones and perhaps even on different continents. It makes this part of the post-production process more efficient and cost-effective.


Streambox SBT3-9200

The quality of the SBT3-9200 encoder's compression was highlighted at the SBE/Ennes workshop held during the 2008 NAB Show, where the not-for-profit Research Channel presented findings from its Codec Comparison Project. The Research Channel had independently tested and compared a number of HD codecs, including Streambox ACT-L3, to uncompressed HD video.

"Video compressed at 30 Mbps using the Streambox SBT3-9200 was virtually indistinguishable from uncompressed video as represented in side-by-side waveform samples," said James Alls, acting director of engineering and operations for the Research Channel. "It speaks to the very high performance level of this particular Streambox solution."

"We are committed to delivering the finest technology available for streaming high-quality live and file-based video over a variety of IP networks. The SBT3-9200's leadership position in the Research Channel's Codec Comparison Project is further validation of the value we bring to our customers," said Bob Hildeman, Streambox chairman and CEO. "By offering exceptional quality and unmatched reliability in one integrated solution, the SBT3-9200 encoder plays an integral role in delivering mission-critical live and file-based HD/SD video over low-cost, low data rate networks."

Each SBT3-9200 HD/SD encoder is outfitted with dual Gigabit Ethernet ports, providing multiplex/demultiplex configurations for video-stream redundancy. The second Ethernet port may be designated as a management port for instant access from anywhere. The SBT3-9200 is capable of outputting both HD and downconverted SD broadcast video simultaneously from a single HD source, and it offers support for both digital and analog HD input/output formats. Built on Streambox's industry-leading ACT-L3 codec, the SBT3-9200 is equipped with advanced networking features such as robust forward error correction for enhanced performance, efficiency, and reliability. It also includes an expanded set of resolutions and frame rates that make the system ideal for use in movie and post-production environments.

The SBT3-9200 encoder operates seamlessly with the entire suite of Streambox client/server products, including video management and play-out systems such as the Streambox Store and Forward Server and the Streambox Media Station.

Source: BroadcastBuyer

3D a Possibility for 2012 Olympics

A London conference on Sports Broadcasting heard a clutch of speakers praising the progress being made around the world in terms of 3D broadcasting. One speaker said that home 3D viewing could happen by 2012.

Peter Angell is Director of Production & Programming at Host Broadcast Services (HBS), and one of the team that brought the world the 2002 and 2006 FIFA World (soccer) Cups. He was project director for the 15th Asian Games in Doha in 2006. Angell is a self-admitted enthusiast for HDTV and its natural successor 3D. He says that 3D is already a reality for closed circuit transmissions to cinemas and theatres, including sport, rock concerts, opera and such like. He said that the 2012 London Olympic Games is the biggest event on the sports horizon, but urged broadcasters to get the HDTV habit. “I am a bit disappointed that UK and European broadcasters have not embraced HD. Flat-panel sales have gone through the roof. The bit that’s missing is the broadcasting [of signals].”

Angell rhetorically asked whether HDTV was good enough? “Has too much emphasis been put on squeezing ever more channels into the available bandwidth, and as a result delivering channels that are near-unwatchable in standard definition,” he asked. “Sport in particular comes across especially badly in low-bandwidth environments.”

“What I see when we go out on productions is that the equipment is all HDTV, even if the transmission is going out in SD. The paradigm has shifted. The factories have done their job. Everything is HD, from acquisition to consumer equipment. This missing link is the broadcaster. There is a responsibility upon broadcasters to deliver more HD channels to consumers. A dozen or so HD channels on BSkyB doesn’t stack up out of 400 available channels.”

“The industry must look ahead,” urged Angell. “MPEG4/H.264 is the route to success. It is now a standard in the broadcast world, and the internet world. 3D high definition is embryonic today. The USA is leading the way in terms of 3D production. But we are already on the cusp of jumping into a 3D high-def world, perhaps before having sorted out the conventional HD technology. I’d ask that our industry address HDTV very quickly so that we can then move forward quickly into 3D. It feels sexy, and looks good. It can also make you want to throw up, so there’s more work to be done before we release the technology on an unsuspecting public.”

Assorted test transmissions have taken place around the world, but Angell said more work needed to be done on discovering whether the public really was ready for a 90 minute soccer game in 3D, or 2 hours of Formula 1 in 3D, without getting a headache.

“Vince Pace in the US is doing great work with studio rigs, but they’re too big and cumbersome for the broadcasting world. On transmission, get a frame out and you are in deep, deep trouble. Display prices need to come down for 3D display. Just at the moment home viewing of 3D doesn’t seem to be an option. Out of home viewing, perhaps in a ‘tribal’ environment on the big screen is the way forward in the short term. Then perhaps transmissions to the home will be an option by [the London Olympics] in 2012.”

By Chris Forrester, RapidTV News

Turner, NBA Team with Cinedigm

Turner Sports, The National Basketball Association and Cinedigm Digital Cinema will team up to broadcast TNT's coverage of "NBA All-Star Saturday Night" in live 3-D to 80 digitally equipped theaters across the United States. Scheduled for Feb. 14, the broadcast will play on as many as 160 screens in 35 states, reaching as many as 45,000 consumers. Other events to be aired that day include the slam dunk and three-point shooting contests, and tickets will cost $18 to $22.

The event represents the first-ever fully marketed deal to deliver an NBA sporting event to the public in live 3-D. Participating theater chains include Carmike Cinemas, Celebration Cinemas, Cinema West, Emagine, Galaxy Theatres, Marquee Cinemas, MJR, NCG, Rave Motion Pictures, Showcase and UltraStar Cinema.



"NBA All-Star Saturday Night," which also be broadcast live on TNT at 8 p.m. ET will feature the league's top-players in such events as: Haeir Shooting Stars, with San Antonio players David Robinson, Tim Duncan and Becky Hammon; PlayStation Skills Challenge, with Utah Jazz guard Deron Williams; Foot Locker Three-Point Shootout, with Toronto Raptors forward Jason Kapono; and Sprite Slam Dunk, with Orlando Magic center Dwight Howard.

"We want to be progressive. We want to be involved in future technologies," NBA vice president of engineering Mike Rokosa said in a telephone interview. "It's a theatrical display technology today. Tomorrow, it's going to be in the home," he added. "We're looking that far down the road."

Sports leagues are looking for new revenue streams as existing sales come under pressure during the recession, while theater chains are searching for new ways to use screens during off-peak hours. In October, the NBA said it was seeing softness in early season-ticket sales and announced plans to cut 80 jobs, or about 9 percent of its workforce.

The event will employ Cinedigm's CineLive technology, which enables live 2-D and 3-D streaming currently to more than 80 theater complexes with more than 160 3-D screens in the U.S. Cinedigm expects to further expand its CineLive network throughout 2009 to at least 150 locations.

By Gregg Kilday, The Hollywood Reporter

GDC, Studios Pact for Asian D-Cinema Rollout

GDC Technology has signed nonexclusive, separate agreements with 20th Century Fox, Paramount Pictures International and Universal Pictures International to facilitate the deployment of digital cinema across Asia. Under the virtual-print-fee financing deals, the three studios have committed to supply Asian exhibitors with feature film content digitally, as well as to make financial contributions toward the hardware cost of DCI-compliant digital-cinema equipment deployed by GDC.

Phase 1 of the program covers 6,000 screens throughout Asia. Along with its current rollout in China, the pacts signal GDC's ongoing commitment to Asian exhibitors. GDC is planning Phase 2 of the deployment.

The conversion of cinemas in Asia to digital technology will enable both exhibitors and distributors to reap substantial benefits of digital cinema: high quality non-degradable prints, new programming opportunities, such as premium digital 3D films, alternative content, and live satellite events, vastly reduced print production and logistics costs, and better protection against piracy.

Julian Levin, Executive Vice President, Digital Exhibition and Non-Theatrical Sales and Distribution, Twentieth Century Fox commented, “GDC’s commitment to the digital transition and roll out of DCI compliant digital projection systems across the Asian markets is very significant. Digital projection will not only provide movie goers with an enhanced theatrical viewing experience but also will provide 3D and alternative programming opportunities which are not possible with conventional analog 35mm film. We are delighted to have closed this deal and look forward to working with our friends and colleagues at GDC to bring this plan to fruition.”

"These milestone agreements finally offer Asian exhibitors a viable commercial model to finance their digital conversion and put together a sustainable rollout strategy," said Man-Nang Chong, founder and CEO of GDC Technology. "The support of Fox, Paramount and Universal is a strong endorsement of GDC and its competency in delivering a pan-Asian deployment. We are expecting more signings with other studios and independent distributors in the near future."

GDC Technology is a subsidiary of Hong Kong-listed company Global Digital Creations Holdings. The company has delivered and installed over 1,000 operating digital cinema servers worldwide.

By Gregg Kilday, The Hollywood Reporter

India Prefers Local Fare to 3-D

Even as Hollywood tubthumps 3-D as the next big driver for the theatrical market, Indian exhibitors are banking on local alternative content to drive digital conversion on the subcontinent.

Speaking at the opening seminar at the CineAsia exhibition and distribution convention in Macau on Tuesday, Tushar Dhingra, chief operating officer of Indian exhib BIG Cinemas, pointed to the recent launch of the Indian Premier League, which plays 2½-hour cricket matches, as killer content for digital cinema screens.

"The first season was lapped up by the audience across India," said Dhingra. "We believe that this shorter form of cricket will be interesting to showcase in the cinemas, and we are looking forward to see how it is going to impact and change India's box office."

The cinema chain plans to install 500 digital screens by 2010. But Dhingra is less optimistic about the popularity of 3-D films, which mostly come from Hollywood, citing the low market share of American films, which account for between 5% and 9% of the Indian exhibition biz.

"We will be providing 3-D in our showcase properties, but we don't see a large penetration of that in the next 24 months," said Dhingra.

Other industry execs who spoke at the forum pointed to issues such as the popularity of e-cinema screens, a lower-resolution and lower-cost exhibition format that uses 1.3K or 1.9K projectors, as opposed to the standardized 2K digital cinema format prevalent in digital projection.

Research presented at the forum indicated that by the end of 2009, India will have 2,000 e-cinema screens -- a figure driven, as executives pointed out, by the availability of local content. E-cinemas are affecting the rate of digital conversion and the expansion of Hollywood films out of major Indian metro centers. Only 300 d-cinema screens are expected to be installed by the end of 2009.

"There is obviously no support from U.S. majors for (e-cinema) studio product, although we have observed that the majors have actually been supporting e-cinema with their locally produced films," said Sunder Kimatrai, VP for the Asia-Pacific region at 20th Century Fox Intl. "This is because the revenue opportunities are too important to pass up."

By Marcus Lim, Variety

Academy Makes Way for 3-D

For the Acad's animation branch, 2008 may be remembered as the last fling with the flat. This year only one animated feature was submitted for Oscar consideration in stereoscopic 3-D: Fly Me to the Moon. But with all the major U.S. animation studios embracing 3-D, 2009 could see half or more of the eligible animated features made in 3-D: Up from Pixar, Monsters vs. Aliens from DreamWorks Animation, Cloudy With a Chance of Meatballs from Sony Pictures Animation, Ice Age: Dawn of the Dinosaurs from Fox/ Blue Sky and the stop-motion Coraline from Laika, to name just a few.

That does bring a headache, however, the likes of which the Acad has not seen since its earliest years. The problem is that since 3-D is far from ubiquitous in theaters, movies are going to be released in both 2-D and 3-D for the foreseeable future, so there's no way to be sure how Acad members -- who sometimes see movies at multiplexes like everyone else -- will view them. And since 3-D homevideo is still a headache, anyone checking out screeners will watch them in 2-D.

Pics haven't received such dual release formats since the dawn of talkies, when some films went out with sync sound for theaters that had sound capability and silent-with-titles for theaters that didn't. To make things more complicated, even for Acad members who seek out 3-D, there's no guarantee that's how the filmmakers want them to see their pics.

"If the film qualifies in both forms, the producers can designate which way they want it screened for the committee," says Bruce Davis, executive director of the Academy.

This year, the Acad's animation committee was able to screen Fly and the other submitted pics at the Linwood Dunn Theater, which has digital 3-D capability. But the org's larger Goldwyn Theater lacks the digital projector required for modern stereo.

"We have to be able to go 3-D," concedes Davis. "We've had 3-D equipment in the budget for the Goldwyn for two years now and we just haven't pulled the trigger." Davis expects full 3-D capability by May, in time for next year's crop of 3-D toons.

Since 3-D advocates consider stereo an enhancement, it would be natural to assume 3-D would always be the preferred format. But this year, Disney chose to submit Bolt in 2-D, even though the Mouse House plans on releasing most of its animated features, both from the Walt Disney Animation Studio and Pixar, in 3-D from now on, and its chief creative officer, John Lasseter, is an avowed 3-D buff.

"In 1989, we did our short Knick Knack in 3-D," Lasseter tells Variety. "In fact, the year before that, when I got married, my wedding pictures were in 3-D." Lasseter swears by the format, which helps auds get caught up in the story.

"Within the computer you're building a true three-dimensional world, but the movies and the still images are a 2-D view of a 3-D world," says Lasseter. But screening in 3-D, "can really show the world we have created in the computer, more than seeing it in 2-D."

Bolt, he says, was the first Disney toon made with 3-D in mind from the start. "When you see it (in 3-D), you feel like you're more present with the characters, you're in the world that they're in," he says.

Unfortunately for Disney, the studio did not have a 3-D print available for submission by the Acad's deadline. But Lasseter isn't worried about the viewing format.

"I think when it comes to the Academy or other award bodies, it's, 'How entertaining is the film? Does it really move you?'"

By David S. Cohen, Variety

3D Images on the iPhone by Spatial View

At the 3D Entertainment Summit last week, James Stewart, producer/director at Geneva Film Co. claimed he had “the world’s first 3D iPhone.” What he really had was an advanced copy of 3Dee!oadr by Spatial View. 3Dee!oadr gives you the option to select side-by-side images from Flickr and convert them on the fly to an anaglyph you can view with 3D glasses. It also lets you to search, view, and manage your Flickr account from your iPhone. You can even save Flickr images to your iPhone for later viewing.


Spatial View Wazabee 3Dee!oadr

The app launched a few days ago and I’m not sure if you can say “the world’s first 3D iPhone” because it’s very misleading. I can’t quite put my finger on why, but for some reason I think you would have to have the ability to create 3D without using special glasses in order to make such a claim.

In any case, 3Dee!oadr is available on the app store right now for $1.99.

Source: QuicklyBored

3D Broadcast Brings Fans Closer to the Game



Click to watch the video



By Adam Balkin, NY1 News

QuVIS Closes its Doors

QuVIS, a Topeka technology company that tried to woo Hollywood into using its digital cinema technology, has closed its doors, the company's founder said Monday. QuVIS laid off 29 employees Dec. 1, said Kenbe Goertzen, QuVIS president and founder. The company, which has 1,900 shareholders, many in Topeka, was struggling under $40 million in debt and insufficient revenue. It fought to meet payroll in its last three months.

Goertzen was sitting alone in front of a laptop Monday at 2921 S.W. Wanamaker Drive. He said he was communicating with secured note holders and shareholders, trying to find a way to reorganize.

"I'm providing volunteer labor to see if anyone wants to reorganize in any way," Goertzen said. "It is complicated and difficult at this 11th hour. We were still getting good reviews on our products, but we have limited maneuvering with no funds."

Goertzen said it is possible the company may enter bankruptcy. He said the assets of the company were "intellectual property, furniture, inventory, receivables, name, blue sky — anything could be considered an asset under a secured note."

In the early 2000s, QuVIS, marketed itself to Hollywood and was able to digitize several movies, such as Toy Story II, Bounce, Shrek and The Perfect Storm. "A lot of eggs were put in the digital cinema basket, but that came to a screeching halt," Goertzen said.

Goertzen founded QuVIS in 1994 in Topeka after working for another technology company called NewTek. Goertzen acknowledged timing wasn't good to raise money because of the financial market meltdown. "Whether or not we can get out of here has yet to be seen," he said.

By Michael Hooper, CJOnline

Samsung 3DTV

Samsung is internally testing a stereoscopic 3-D rendering chip for its TVs that could be released as early as the second half of 2009. The chip could help translate 2-D video content to 3-D. It could also interpret 2-D content with embedded depth information, an approach Samsung expects some Hollywood producers to adopt next year.

In terms of 3-D displays, Hyun-Suk Kim, vice president of R&D for Samsung's television products, said "the easiest way is to have 60 Hz each for left and right images, so the display does not change because we have 120 and 240 Hz displays."

Watch the full press Q&A session

By Rick Merritt, EE Times

Latest 3-D Videoconferencing Achievements Unveiled

The 3-D videoconferencing prototype developed at USC's Institute for Creative Technologies, allows one to attend a meeting as a talking head floating in space. Unlike CNN’s hologram on election night, or the famous hologram effects in the Star Wars films, this three-dimensional image can be seen in person and does not require special glasses. The remote attendee can converse freely with live participants.

For those who would use technology for good, the inventors hope the low-cost system will save time, money and carbon footprints while promising a better interaction between live and remote participants than currently available through speakerphone or a television feed. The inventors also see applications for video gaming, amusement parks and other sectors of the entertainment industry.


Click to watch the video

Researchers demonstrated the 3-D videoconferencing system December 1 at the Army Science Conference in Orlando, Florida. Prior to the conference, John Parmentola, the Army’s director for research and laboratory management, predicted: “For the first time that I know of in the world, we'll be able to actually project a three-dimensional image from one part of the Army Science Conference through a high bandwidth line to another part of the Army Science Conference, where you'll be able to walk around that image.”

His claim proved accurate. Visitors to the institute's exhibit chatted freely with a virtual 3-D image while the real person sat out of sight and earshot. The remote participant followed the meeting on television. Cameras mounted under the television screen captured the participant’s face, which was recreated as a 3-D image on a barely visible surface spinning in front of visitors.

The demo capped two years of work led by Paul Debevec, a research associate professor at the institute well known for his advances in face scanning and photorealistic visual effects. Already familiar with Debevec’s work, Parmentola suggested applying face scanning technology to 3-D videoconferencing.

“It was a great suggestion because it challenged us to advance two of our lab's research vectors and bring them together,” Debevec said.

Searching for a way to rebuild a face in thin air, Debevec had his key insight: High-speed projection onto a rapidly turning mirror could create the illusion of a solid object floating in space, for any observer standing anywhere in the room.

“You not only see the object correctly from your point of view, but you can see other people all around the display reacting to it exactly the same way that you would expect them to if it were actually there, if it were just as real to them as it is to you,” Debevec said. “And we really hadn’t seen that happen with existing 3-D display technologies.”

Debevec and his team plan to go further, believing they can create a full-size image capable of eye contact and sensitive to the direction of sound.

“This is a crowded field, but nobody can do what we can do right now. We’ve built a genuinely new 3-D display experience, and that’s given us a base to continue to make contributions in this area,” Debevec said.


Click to watch the video

Parmentola, who oversees all Army research, says the effort is worth it. “If we spent the amount of money we have on travel on this, we would be so far advanced in this area that it might not eliminate travel, but it would enable people to participate in meetings with their actual images - realistic in real time - interacting with live humans in that context,” Parmentola said. “On the battlefield there would be plenty of applications for this type of thing, between command centers, for example,” he added.

The other members of Debevec’s team are Andrew Jones, Magnus Lang, Xueming Yu, Ian McDowall of Fakespace Labs and Mark Bolas, who also is on the faculty at the USC School of Cinematic Arts. The U.S. Army sponsored the research.

By Carl Marziali, Imperial Valley News

Livestation Shows iPhone Version of its Video Service

Livestation, an online television platform, has shown a version of its player working on the Apple iPhone. The live online demonstration came days after Joost released an application for the Apple device. Livestation has yet to have its application added to the Apple store. The Joost and Livestation applications can currently only be used over a Wi-Fi connection, but Joost says 3G will be enabled soon.



Livestation launched as a peer assisted network application, streaming news channels from international broadcasters. The original concept was developed in consultantion with informitv. Initially only available on Windows, using Microsoft Silverlight, it has since been developed as a native application for Windows, Mac and Linux.

Livestation has since added over 2,000 channels to its player, or rather its users have. Livestation claims that it simply links to streams that are already available on the internet. The result is a rather random selection of services of variable quality and availability.


Click to watch the video

It remains to be seen whether this YouTube approach to online television will work, or provide an attractive environment for advertisers. The legitimacy of linking and reframing in this way is questionable and may be in breach of the terms of service of many broadcasters. A Bloomberg channel, apparently added as a link by 12,000 users, has been removed at the request of the broadcaster.

Matteo Berlucchi, the man behind Livestation, appeared in a charmingly unassuming webcast in conversation with Guardian journalist Jemima Kiss to demonstrate Livestation on the iPhone.


Click to watch the video

Like Joost, Livestation appears to have developed its own video player and is simply streaming video to the device. Unlike Joost, the application is not yet available through Apple.

Mike Volpi, who heads Joost, says that its library of 45,000 licensed videos is now available on the Apple iPhone and iPod Touch. He says a large proportion of the library will also be available over 3G mobile networks “very shortly”. Among its library Joost has around 18,000 music videos.

Source: InformiTV

China Clears Exhibition Path for 3-D films

Disney's Bolt will be released this month in China in digital 3-D -- and, surprisingly, local authorities are pulling out all the stops to make it happen. The toon will even be exempt from the 20-film quota that limits the number of imported pics per year that get a revenue-sharing release. The reason for this enthusiasm? In a movie industry relationship that is often fraught with regulatory frustrations and economic missed opportunities, Hollywood and China have found common cause -- in promoting 3-D. And it bodes well for the CineAsia confab, which bows Tuesday in the Chinese enclave of Macau.

Singapore, the other contender for Asia's 3-D crown, recently proclaimed it would be the first territory in the world to have a national rollout of a digital 3-D film. Bolt was released Thursday in Singapore with a single digital print in each of the city-state's four main multiplex chains, as well as a mix of 2-D digital and conventional 35mm print offerings.

The effort being made by Disney and China Film Group's Digital Cinema Line subsid is more ambitious. The pic will be released only in digital 3-D at some 120-150 locations. While the precise date is still uncertain, CFG spokesman Wen Li says Bolt is on course to bow over the key Christmas period, which is the high point of China's B.O. year. In previous years, Chinese authorities have used blackouts and other regulatory means to prevent Hollywood blockbusters from launching during Christmas and Chinese New Year holidays.

China is keen to develop digital exhibition and 3-D movies, which not only represent technological leaps forward but also can build low public interest in watching movies in theaters, rather than on pirated copies at home. Installations are moving fast. When Journey to the Center of the Earth 3-D preemed in China on Sept. 29, it was limited by the number of screens available. Journey opened at 85 venues but is still showing on more than 100 and has grossed more than 60 million yuan ($8.6 million).

The love-in between China and Hollywood over 3-D does have its logistical complications. Bolt had to pass censors twice, and some shuttle diplomacy was necessary. First, only after it was completed could the pic be shown to the censorship board. Then, because 3-D does not support subtitles, the studio had to dub the pic into Mandarin and show the movie again to prove it really matched Chinese 3-D criteria. Only then could the pic be granted a certificate -- and that had to be burned into the approved master in Burbank. After that, it goes back to Beijing for replication and uploading to servers.

Uncertainty about the release date reflects tech concerns as well as the number of screens available. The country has some 600 screens operating to 2K DCI-compliant standards or better and an estimated 150 capable of playing 3-D movies. That makes China the second most digital-ready cinema territory in the world, behind the U.S., and many more Chinese loops are rushing to install 3-D. (China also has the second most Imax theaters after the U.S., and the large-format company has partnerships with multiple circuits to maximize the build rate.)

One of the attractions for operators of 3-D (and Imax) is the ability to charge higher ticket prices. A spokesman for UME Intl. Cineplex told Daily Variety it expects to charge $10.20 per ticket for Bolt, roughly double the normal tariff -- a considerable sum for a family movie outing. But in cities such as Beijing and Shanghai, prices for 3-D movies can reach $14.50, and in Shenzhen, just over the border from Hong Kong, they cost $17.50.

The 2K installations are seen as fit for the wealthy populations and multiplexes of the big cities. But the vision of policy chiefs at China's powerful State Administration of Radio Film and Television and its executive arm, the Film Bureau, does not stop with cities. They want cinemas to be built in second- and third-tier cities and rural areas and are aiding the installation of 1.3K equipment. In the countryside, where villages don't have permanent cinemas and groups with old-fashioned projectors travel from place to place, equipment is being replaced with basic-quality digital projectors.

Both Hollywood and China will have to deal with new issues as digital exhibition and 3-D become increasingly dominant forces. The U.S. studios may have to weaken their stance that digital screenings be only on DCI-compliant equipment. And China will have to decide whether it is willing to continue exempting Hollywood's 3-D output from its import quotas. DreamWorks' Madagascar: Escape 2 Africa is already seeking Chinese screens for January.

By Patrick Frater, Variety Asia

NFL Football Experiments with 3D Broadcasts

Last night was the first live telecast of a 3D NFL football game. It was transmitted via satellite to theaters in Los Angeles, New York and Boston. I had an opportunity to see the game (at least until halftime) in New York. Overall, it was an impressive performance for a first time event. 3Ality and Crosscreek Productions provided the camera work and video processing; Technicolor sent the signal to the theaters via its satellite system and RealD provided the theatrical projector system in the Chelsea Clearview Theater in New York. The San Diego Chargers demolished the Oakland Raiders 34 to 7. Here’s my scorecard for the evening.


Invited guests, all wearing special 3-D glasses, watch the NFL football game in Los Angeles

The 3D camera work was done with operators who were briefly trained in 3D. Shooting in 3D is different than shooting in 2D. Pans should be slower, lensing may be different and scenes need to be composed to avoid 3D objects extending off the border of the screen (frame violations). Following the fast action of a football game is a challenge in 3D. The crew had nine cameras, but lacked the overhead shot which helps set the scene. The camera operators or the stereoscopic director must also set the parallax, depth of field, focus and toe-in of the cameras to create a good stereoscopic effect.

I have to give this aspect a C+ because I saw many things that bothered me. Okay, I’m nit picking a bit, as many others thought the 3D quality was terrific, so let me offer this as constructive criticism.

First, the naturalness of the 3D effect varied quite a bit. Medium distance shots are clearly the best. Here the perspective seems natural as it looks like one would see the scene in real life. Medium range shots of the players on the sideline or of the cheerleaders looked great.

Close-up and long-distance shots are more problematic. Close-up shots created eyestrain as objects sometimes came out of the screen, however most of the action was in back of the screen giving a through the window look, which was the right way to do it.

Sometimes in-focus foreground objects can distract from the focus of the shot, as our eyes (at least mine) are drawn to them. The down-marker pole and the overhead camera on cables (which seemed to float in space) are two examples I remember. In 2D, we see past these objects, but in 3D they are distracting.

Longer shots had several visual artifacts that, for me, created some unnatural scenes. For example, field level shots would often show a referee in the mid-foreground, then the two teams some yards away. It was very difficult to tell how far away the ref was from the teams. The size of the ref and the players all seemed about the same size, creating a confusing depth cue.

In some shots, the depth of field was narrowed so that a mid-distance player was in focus, with the background out of focus. This worked well. But if that was reversed with the foreground out of focus, I found it jarring. In other scenes where players were framed on the sideline in the foreground, with players on the field, the sideline players looked a bit like cardboard cutouts on a green background.

Other shots featured a foreground or medium-distance object with the stadium seats in the background. Sometimes this produced good depth to the stadium background, but other shots produced a very flat background.

I suspect many of these issues have to do with 3D camera settings and learning how to improve adjust these settings is all part of this experiment.

There are other aspects of the broadcast to be considered, too. For instance, the crew did a great job on production techniques like slow motion, quick replays and the addition of graphics. I would recommend keeping the graphics, like the score, at the edge of the screen and in the screen plane (it was a little in front and created some minor eyestrain). 3D processing also was very good at making cuts that maintained the depth of the scene - a big factor in eliminating eyestrain. There were some glitches that created some very painful scenes, but this was a small percentage of the shots. Overall, I would give this a B+.

On the distribution side, the satellite signal was lost two times for 5 minutes, which is OK for a demo, but unacceptable for paying audiences.

For the display of the content, a RealD equipped digital cinema projector was used in the theater with two LCD TVs in the lobby outside the theater. I preferred the LCD TVs, as the theater image was harder to acquire and created some eyestrain. Both required passive polarized glasses.


John Modell, pointing, lower right, co-founder of 3ality Digital, and invited guests

In addition, the projection display also looked a bit softer. This may have been a result of the larger magnification of the 720p image and some compression artifacts. That’s because the stereo signal from the camera was combined into a single image stream and sent to the truck for processing. In the NBA games that have been shot previously, dual streams were processing in parallel and transmitted for closed circuit display. The LCD 3D TVs get an A and the projection system a B.

I am sure others will have a different opinion of what they saw, but I hope this critique is viewed in the spirit in which it is intended - to improve the process. Last night’s event was like the first workout at spring training camp - you know these pros are just going to get better and better as the season rolls on.

And the good news is that we will get another look in a month as 3Ality and FOX have decided to do a similar broadcast of the BCS college football match up in January (it will occur during CES, so look for some live demos at this event). Congratulations to the whole team for making this a successful demo.

By Chris Chinnock, DisplayDaily

Microspace to Deliver La Scala Premiere Opera Performance to U.S. Theaters

Microspace Communications Corporation, the leading distributor of digital cinema via satellite, announced it was selected by Emerging Pictures to deliver the 2009 season opening night performance of Don Carlo live in high-definition from the world-renowned La Scala opera house in Milan, Italy.

The event will mark the first live satellite-delivered opera from La Scala, considered one of the world's most famous opera houses. Microspace will deliver the event live in high definition and multi-channel surround sound to selected theaters December 7 at 12:00PM EST (6:00PM in Milan) to six states including California, Maryland, New York, Oklahoma, Pennsylvania and Rhode Island.

La Scala's Opening Night takes place on December 7 annually and is widely considered one of European society's most important cultural events. Italy's elite are joined in attendance by international heads of state, royalty, VIPs and the world's most ardent opera fans. Last year's Opening Night tickets soared to US $2800 each, and it is anticipated that this year's performance of Don Carlo will command even a higher premium as this opera is widely considered to be Giuseppe Verdi's greatest work. The digital cinema presentation is a collaboration between New York based Emerging Pictures and RAI Trade.

"Live alternative content is a growing business trend that is driving incremental revenue for exhibitors year-round," said Curt Tilly, manager of digital cinema distribution at Microspace. "The Microspace network of installed theater sites across the U.S., Canada and Mexico gives content providers like Emerging Pictures the option of delivering live alternative content."

Microspace offers the world's only full-time, dedicated digital cinema satellite system to distribute motion pictures as well as live performances. The system currently serves eight major motion picture studios and 22 theater networks that include Allen Theaters, Carmike Cinemas, Celebration! Cinemas, Cineplex Entertainment, Mann Theaters, Marquee Cinemas and Megaplex Theaters.

About Microspace
Microspace Communications Corporation, a subsidiary of Capitol Broadcasting Company, is the leader in satellite services for digital cinema, business communications and digital signage. The company operates the largest global business satellite broadcasting network with nearly 340,000 remote links worldwide. With a 20-year heritage, Microspace's VELOCITY satellite services power networks for Morgan Stanley, Abercrombie and Fitch, John Deere and many more.

Microspace uses the Intelsat network for delivering services to the digital cinema industry. The VELOCITY service is available as either a dedicated solution or as an on-demand service, enabling customers to easily and affordably expand bandwidth as their needs change. Microspace is headquartered in the U.S. and has a presence in Europe and Latin America.

Source: MarketWatch

Tackling 3-D TV

The idea of broadcasting 3-D television programming in homes took one step closer to reality Thursday with a trial run on the NFL Network. But the gridiron is a fitting test for a technology that faces a veritable football field of obstacles including production and distribution challenges, TV-set penetration and untested revenue models. Those wacky glasses aren't going away just yet, either. And what self-respecting Hollywood-related innovation doesn't come complete with threat of a format war?

Nevertheless, the 3-D broadcast of the San Diego Chargers-Oakland Raiders game capped a week of guarded optimism for an industry that came together days earlier at the 3-D Entertainment Summit in Los Angeles, where DreamWorks Animation CEO Jeffrey Katzenberg issued the closest thing to a rallying cry in a keynote speech, saying, "We can be certain that 3-D will make its way into the home."


Thursday’s trial run with the NFL aims to demonstrate 3-D’s potential

The driver for these efforts is digital technology, which enables a pair of 2-D images to form a single 3-D picture with more precision than previously possible. Digital 3-D has already excited the movie business, which has more than a dozen 3-D releases scheduled for 2009, to be shown in more theaters (in the range of 1,500 in the U.S. and growing). These films might also end up in homes, either via broadcast or disc, though the latter will take a separate though equally arduous path to consumers.

Testing of 3-D broadcasts has already started in theaters, where exhibitors see the potential to offer alternatives to movies. So far, most of the experiments have surrounded the transmission of live 3-D sporting events, via satellite, to a single, closed, 3-D-ready digital-cinema location.

It is widely believed that live 3-D will first come to movie theaters, as it did for Thursday's NFL Net test in theaters in New York, Boston and Los Angeles. But those theaters also displayed the game on TV sets, a demonstration of the end goal for this business.

"Home entertainment is starting to show signs of being involved in live 3-D," said Vince Pace, CEO of 3-D business Pace. "That's a good sign because the industry has had a difficult time demonstrating a revenue stream with closed-viewing events."

Still, to get 3-D to the home means a lot of moving parts that require attention. Global standards-setting body Society of Motion Picture and Television Engineers is developing a 3-D mastering standard for combining the two 2-D signals into a 3-D broadcast, whether distributed via broadcast, cable, satellite or the Internet. If SMPTE doesn't move quickly enough, it could find manufacturers such as Real D, Philips and Sensio deploying their own proprietary methods, triggering a format war.

"I think we are going to see format wars next year, " admitted Steve Schklair, CEO of 3Ality Digital Systems. "Ultimately, SMPTE will set a standard and probably those that are deeply embedded in the market will become the standard."

But Sensio executive vp Richard LaBerge begs to differ. "I think the studios will announce their support before a format war begins. I think so because people still have scars from the last one, and going into another war might just kill 3-D."

With the Consumer Electronics Show a month away, the market is getting ready to put its best 3-D foot forward with new consumer technology to support new methods of digital 3-D broadcasting.

"We expect to see a continuation of development of 3-D capable TVs," said David Wertheimer, CEO of the Entertainment Technology Center @ USC, which is building a neutral 3-D TV testing lab.

Rather that asking consumers to chose today's TVs or new 3-D capabilities, the consumer electronics industry is starting to roll out TV sets that support both standard and 3-D viewing. So for those familiar with the "HD ready" slogan for sets that accommodate standard as well as HD imagery, soon "3-D-ready" TV will enter the consumer vocabulary.

These sets are being offered by the likes of Samsung, Mitsubishi, Panasonic and JVC, complete with high-tech eyeglasses that make the classic two-color kind seem primitive by comparison. There are currently 1.9 million 3-D-enabled TVs worldwide according to Insight Media, and that number is expected to reach 40 million by 2011.

Still in development a few years away from consumer availability, are "autostereo" TV sets, which are different from other 3-D ready TV sets in that they would display 3-D without the need for glasses.

Until then, TV networks are content to utilize the classic method of "anaglyph," in which the images are made up of two color layers. In June, Disney Channel showed Hannah Montana/Miley Cyrus: Best of Both Worlds Concert that way, and an upcoming episode of the NBC series Chuck will do the same.

Still, some do have concerns about reviving the method. Among them: James Cameron. Speaking at the summit this week, the Academy Award-winning director warned attendees not to set the wrong impression about the technology in the minds of consumers. "Every time you do that you stunt the eventual performance of 3-D," he said.

A 3-D breakthrough is largely a chicken-and-egg situation, with set penetration at one end and available content on the other. On the content side, live sports is likely the killer app. Pace and the NBA have already completed several successful tests of live 3-D basketball. He reported that his company has also recently done 3-D tests for the World Wrestling Entertainment and Ultimate Fighting Championship. He added that ESPN has shown interest, with Pace shooting a 3-D college football game last month as an experiment for the broadcaster.

And revealed this week: Fox Sports is planning a 3-D broadcast of college basketball's upcoming championship game to CES and select theaters. Rumors are swirling of interest being shown in giving sports such as soccer, rugby and even Olympic events the 3-D treatment.

Howard Katz, senior vp broadcasting and media operations at NFL, emphasized that this week's game was a test for live broadcasting. But he revealed that one long-term objective is a 3-D doc-style theatrical release about the Super Bowl. He suggested that if 3-D development continues, it might be in the plans for 2010.

Ultimately, the biggest barrier to 3-D going mainstream is the inevitable issue of costs. David Hill, chairman and CEO of Fox Sports Television Group, urged set manufacturers to subsidize equipment purchases, citing how prohibitive just doing HD programming proved to be. Said Hill, "I can't see us making a move to 3-D until a good fairy comes flying into my office with a check."

By Carolyn Giardina, The Hollywood Reporter

First NFL Game in 3-D Fumbles, then Recovers

The first NFL game broadcast to theaters live in 3-D fumbled, then recovered Thursday night. Two satellite glitches blacked out the broadcast to theaters in Boston, New York and Los Angeles in the first half of the game between the Oakland Raiders and the San Diego Chargers. And on a few occasions, a quick camera movement or a refocusing — and one ill-advised dissolve — had viewers pulling off their polarized lenses.


Steve Schklair, founder and CEO of 3ality Digital Systems, checks out one of his 3-D cameras

But the Los Angeles audience was mostly forgiving, in awe of a spectacle that had depth and in some instances gave the feeling of being on the field, especially for the opening coin toss.

"It's amazing," said Chad Ahrendt, a 35-year-old writer from Los Angeles who attended the screening in Hollywood. "Technically they obviously have a little ways to go, but once they work out all the kinks, it's definitely the new era of television."


Matt Blute, a 3-D camera technician, sets up one of the dual lens 3-D cameras

John Modell, 48, co-founder of 3ality Digital LLC, the Burbank-based company that put on the show for the NFL, said the demonstration was a good learning experience, and that team owners viewing in New York and Boston had told him they were pleased. "They're all knocked out," he said.

The NFL has not decided what to do with the technology, but the team owners' broadcasting committee will meet some time before March to discuss it. Howard Katz, the senior vice president of the NFL's broadcasting and media operations, has said the NFL is for now committed to free, over-the-air broadcasts if and when they adopt 3-D technology. Only about 2 percent of the nation's TV sets are equipped to handle 3-D broadcasts.



Fox Sports plans to broadcast college football's BCS National Championship game to 150 digital movie theaters in 3-D in January.

On Thursday, some systems at a Salt Lake City location had to be rebooted to restart the satellite feed and some camera crews performed pans that ended up leaving the viewers a bit cross-eyed, Modell said.

"Well, this is a test," he said. "It's a learning experience for the director and for the camera people how to shoot."


Steve Schklair (right) and Bob Levy, the director and producer of the 3-D NFL game

Some scenes clearly captured the benefits of 3-D broadcasts, however, such as an interception by Chargers linebacker Stephen Cooper as players crisscrossed the field, and a long touchdown catch by San Diego's Vincent Jackson with the arc of the ball caught on camera all the way.

Viewers were encouraged to text in their reaction to the viewing. One of the first comments, according to the commentators: "More cheerleaders."

By Ryan Nakashima, The Associated Press

Ajimi TSAFT - Analysis and correction of Digital Video Content

TSAFT provides an automated solution for analyzing and on-the-fly correcting digital video content to help lower operational VOD costs while improving video content quality and video services subscribers satisfaction. Despite a very comprehensive market offer for network monitoring / tuning solutions, more than 50% of error causes is due to digital content not encoded as expected.

Unlike other solutions that require manual assistance, or time-consuming content testing processes, TSAFT is able to scan, repair, and optimize hundreds of video per day. In addition to this, continuous R&D efforts allow updating and maintaining a broad coverage of typical error detections. These may vary from video freeze to audio/video synchronization loss, as well as macro-blocking, which have been identified by video content Operators as major causes of quality defects in video distribution channels.

The TSAFT combined solution is composed of 3 video processing modules:
- TSAFT SCAN for immediate analysis & errors detection
- TSAFT REPAIR for on-the-fly video content correction
- TSAFT OPTIM for video content optimization

TSAFT SCAN
- Video content MPEG-2 transport stream based checking:
  · PSI tables consistency
  · TS flags (% PES) analysis
  · PCR, jitter, clock breaks verification

- PES encapsulation verification:
  · Analysis of PTS/DTS
  · Audio/Video delay
  · PES flags (%ES), and PCR offset

- ES content verification:
  · Supported types: H.264 (SD/HD), MPEG-2 (SD/HD), MPEG Audio Layer 1 and 2, CEEFAX teletext
  · ES discontinuity detection
  · AU analysis

- Real encoding data extraction (e.g. GOP, I frame, real bandwidth...)

TSAFT REPAIR
- Automatic orrection of:
  · Program Clock Rate (PCR) errors, avoiding synchronization loss
  · TS Control Counter errors, avoiding skips during TS sequences decoding
  · PES flags (that depends on the payload) in the TS header
  · PAT/PMT consistency

- Automatic insertion of accurate ISO languages codes («fra», «eng», etc.)

TSAFT OPTIM
Optimizes the required bandwidth and storage space for the video content streaming:
  · Removes any optional or redundant DVB tables (in case of IP streaming)
  · Removes any additional and useless padding
  · Allows to cut a sequence in a consistent manner (e.g. for the creation of a trailer)
  · Allows to extract an Elementary Stream (ES) to be reprocessed by a mux

Magnolia Launches Content Management Solution for the Broadcast Media

Magnolia, the Open Source content management vendor that delivers simplicity on an enterprise scale, has launched Magnolia-on-Air, a new dedicated solution for the broadcast media and large organisations managing their own broadcast content. Magnolia-on-Air provides a seamless environment for transferring content between professional broadcast systems and a feature-rich interactive web-presence. The system also allows users to draw online feedback and community content back into the broadcast production environment.

The workflow within Magnolia-on-Air allows users to capture broadcast content and rapidly repurpose it for publication on the web. Based on the needs of Magnolia’s existing customers in the broadcast media, the system has been designed to cut production costs, get rich media content to the web first and then, to draw timely, online community-participation back into the broadcast environment.

“We have taken the best Open Source technology components to develop an open and highly interoperable system based on the real-world needs of the modern broadcast media,” explains Magnolia’s CEO Boris Kraft. “But with the web increasingly becoming a rich-media environment, we have already received much broader interest in the system from large corporate and public sector organisations looking to take their own broadcast channels online for corporate communications.”

Magnolia-on-Air not only captures high-definition rich-media streams but also the surrounding broadcast metadata, including presenters’ scripts, editors’ notes and almost any other information required from the host systems. With all the relevant information in the Magnolia-on-Air system, web editors have one intuitive browser-based interface in which they can edit video streams, create and resize static photography, as well as to produce headlines, leaders and accompanying stories from the surrounding metadata.

Answering the call from modern television audiences for ever-more interactivity with programming, the Magnolia-on-Air also allows broadcasters to instantly draw comment back from the web into the broadcast environment to create real-time dialogue with viewers. The system even allows rich-media content uploaded to the web by viewers to be pulled into the broadcast environment. This functionality is increasingly important for broadcasters, as members of the public are now often the first to capture footage of breaking stories on mobile phone cameras and other devices.

Magnolia-on-Air has been developed in conjunction with FutureLab, a technology innovation think-tank and development company with extensive experience in the media, telecoms and cable businesses. FutureLab’s existing customers include Cablecom (Liberty Global), Swisscom, SF-Schweizer Fernsehen (Swiss TV). The online content delivery platform within Magnolia-on-Air is based on Futurelab’s high-perfomance Mediaflow architecture which has been proven in large ISP environments.

Source: Magnolia