3D-News Archive July 2013

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New Christie HoloStation Combines High Performance With High Resolution for Maximum Visualization in Small Spaces
3D-News Posted: Thursday, July 25, 2013 (11:07 UTC) | Posted By: Webmaster

Christie, a global leader in visual display solutions, announced at SIGGRAPH the launch of its Christie HoloStation™, a fully self-contained, personal visualization system that provides ultra high performance 3D and high resolution display for an immersive experience in small spaces and for "on-the-go."

"With its low maintenance and low cost of ownership, the HoloStation system is one of the most affordable immersive display solutions on the market. Its portability and compact footprint contains all the components required to operate a personal immersive visual display for scientific research or oil and gas exploration, among many other applications," said Larry Paul, senior director of Technology and Visualization Solutions, Christie.

The Christie HoloStation comes complete with projection displays, screens, tracking and interactive technology and displays up to 16.8 Megapixels of data in a 3D stereoscopic and interactive, tracked environment. It provides the functionalities of a full-size Christie CAVE™ , but in a scaled down (85-inch by 108-inch by 101-inch footprint), completely self-contained personal immersive environment that fits into a standard office or cubicle. With interactive 3D content and graphic cards as options, it features external graphics processing designed for large-scale 3D visualization and full Dual Link DVI-D bandwidth. Easy to deploy and use, the Christie HoloStation can be set up in almost any facility, and with its head-tracking sensors and interactive tools, it is ideal for applications including aircraft design development, architectural walk-throughs and product design reviews, maintenance and service training, medical training and as a 3D virtual trainer.

The HoloStation system showcased at SIGGRAPH 2013, July 23-25, is powered by four Christie Mirage WU-L WUXGA DLP® 3D projectors that deliver high resolution and rich pixel density, as well as continuous system calibration, in a small footprint unit capable of advanced 2D-3D visualizations. The Mirage WU-L with RGB LED is the first Mirage Series projector to use solid-state LED illumination, providing precise, lifelike, vibrant colors and consistent performance over an estimated 60,000-hours (approximately 6.5 years) life cycle. The compact, four-sided Christie HoloStation system allows visitors at the booth to become fully immersed and interact using the controls. The tracking system enables the 3D models to change their perspective at the slightest turn of the user's body, making the virtual reality as close to real-life as possible.

Christie's commitment to bringing cost-effective solutions for small spaces makes this workstation affordable for companies whose daily tasks involve research, exploration and training, whether on the manufacturing floor or in a cubicle.

Legend3D taps eyeon for VFX Pipeline
3D-News Posted: Tuesday, July 23, 2013 (17:18 UTC) | Posted By: Webmaster

Stereoscopic and Visual Effects studio, Legend3D, Inc., announced the deployment of hundreds of licenses of eyeon's latest Generation release.

"We have been fine-tuning our pipeline over the years to work as efficiently as possible, and Generation's design and functionality is a natural fit for us. Even during the evaluation stage, eyeon provided such responsive help and guidance that we knew this was the way to go" says Anthony Lopez, Director of IT, Legend3D.

With an increasing popularity among the larger studios, and with several key technology advancements such as high frame rate playback, logical effects stacks, event scripting to support Legend3D's Nuke pipeline, and specific stereoscopic tools for both conversion and visual effects, eyeon Generation will soon become an integral part of Legend 3D's day-to-day workflow.

Generation's advanced scripting environment, which supports Python and Lua, takes an out-of-the-box application and allows companies with existing proprietary technologies to extend their capabilities with an elegant interface and comprehensive ease of use. Assigning shots is only the beginning as experienced pipeline integrators bind more of the workflow to create highly-efficient and financially-viable projects.

“We began the journey of developing Generation to add value to the Fusion shop. Today, we see how all studios require the right tools to significantly tighten their workflows and connect their pipelines as much as possible. We are anticipating great feedback from one of the most efficient studios out there - Legend3D" says Joanne Dicaire, EVP Sales & Marketing, eyeon Software.

Mistika adds dimension to Mr Hublot for France's LevelS3D
3D-News Posted: Tuesday, July 23, 2013 (17:18 UTC) | Posted By: Webmaster

French facility house LevelS3D has invested in a Mistika 2K DI and Stereoscopic 3D system from SGO to meet high level demand for content in the third dimension.

Seeing use in post-production tools in the industry for commercials, feature films and broadcast, Mistika will play an integral role in supporting LevelS3D's project workflow and in attracting new clientele to the company.

With headquarters in Commune Image, a hub of audio-visual companies in St-Ouen, LevelS3D recently launched its own 2D-4K-S3D post production studio. Mistika was put straight to work at LevelS3D on the post production of 11-minute animated short film Mr Hublot, produced by Zeilt Production and Arte, and directed by Laurent Witz and Alexander Espirages. Mistika's colour grading capabilities and Stereo 3D toolsets were put to the test and the film recently received the well-respected Grand Prix S3D Seine-Saint-Denis award at the Dimension 3 Festival in Paris in June 2013.

Going forward the new product will form part of what LevelS3D calls "an advanced and highly efficient" 2D and stereoscopic 3D DI and colour grading service. It will be used for all of LevelS3D's work which includes 2D and stereo 3D corporate films, documentaries and feature films.

"We chose it for its unparalleled ability to handle all kinds of video streams in real time ... Mistika is also the most advanced solution for S3D, it gives us every tool we need and fits perfectly with our ambition of becoming Europe's S3D market leader," said Loïc Beauvillain, LevelS3D's COO.

ACK Animation Studios' Critically Acclaimed Film, SONS OF RAM, to Be Showcased in STEREOSCOPIC 3D at TAAFI 2013, Toronto
3D-News Posted: Tuesday, July 23, 2013 (17:18 UTC) | Posted By: Webmaster

Amar Chitra Katha has been India's favorite storyteller for more than 45 years and now, its animation division ACK Animation Studios continues to bring this rich legacy to the world of film and TV. SONS OF RAM, their first theatrical feature film (produced in collaboration with Cartoon Network India), continues its international festival rollout at TAAFI 2013, after the successful domestic release across India last November. TAAFI, Toronto's first and foremost International Animation festival, celebrates the many forms of animation from around the world, supporting and nurturing the community that creates this art form. SONS OF RAM will be screened in the presence of its creators on Sunday, 28th July, 2013 at 12:30 noon at the prestigious TIFF Bell Lightbox.

SONS OF RAM (written and directed by Kushal Ruia), tells the story of twins Luv and Kush and their journey to their roots, with the great Indian epic RAMAYANA as its backdrop. Complete with a cast of lovable and relatable characters, the film is an epic coming-of-age adventure told with global sensibilities and beautiful art. Both children and adults will love this story for its balance of entertainment with meaningful and relevant themes. The film received unanimous praise from critics and industry professionals in India, who called it "the best Indian animated film so far" (Vaibhav Kumaresh, Celebrated Indian Animator), "Ruia's storytelling wins you over" (The Times of India), "amazing clarity and breathtaking freshness" (MoviezAdda.com).

Kushal Ruia, writer / director of "Sons of Ram" & Head, ACK Animation Studios, says, "The genuine outpouring of love and praise for the film's storytelling and characters, on its release in India, was momentous. Now, to have SONS OF RAM play at TAAFI is even more so for me because as a Sheridan Animation alumnus, I learned all I know about animation and film right here! Though SONS OF RAM is a very small film compared to what North American audiences are generally used to, the story has a big heart, is told with bucket-loads of passion and was made against all odds by a ridiculously talented bunch of people. I hope the audiences here will connect with 'Sons of Ram', just like Indian audiences did!"

France Télévisions Taps Quantel's Pablo Rio For 3D
3D-News Posted: Sunday, July 14, 2013 (6:25 UTC) | Posted By: Webmaster

French public national broadcaster France Télévisions has purchased a Quantel Pablo Rio high-end color and finishing system for its graphics design studio, Francetélévisions signature. The studio, based in Nancy, handles the majority of 2D and 3D post-production for programs broadcast across the France Télévisions network, including France 2, France 3, France 4, France 5, France Ô, and overseas channel 1ère.

Francetélévisions signature will use Pablo Rio for both 2D and S3D projects as the studio increases its stereo 3D program production. Pablo Rio is Quantel's newly launched color and finishing solution for 2D and S3D projects. Pablo Rio runs on high performance PC hardware and is based on NVIDIA Maximus multi-GPU technology. Pablo Rio is available as software only and as a range of Quantel-backed turnkey systems.

Preston Middle School Students use Presente3D to further their STEM Education through 3D
3D-News Posted: Sunday, July 14, 2013 (6:24 UTC) | Posted By: Webmaster

At Preston Middle School, located in Ft. Collins, Colorado, they challenge their students to participate in something called the Grand Challenge. The Grand Challenge asks every kid to propose a solution to a global problem. A special class was formed around three main topics: student led professional development, the Grand Challenge, and utilizing 3D technology.

Presente3D was chosen as the software of choice for creating 3D content because of its ease of use and it's integration directly into Microsoft PowerPoint. The students who were a mix of 6th, 7th and 8th graders were very familiar with Microsoft PowerPoint but, lacked the knowledge on how to create 3D stereoscopic content. Presente3D's easy to use interface allowed the students to quickly start creating eye popping 3D presentations. They could quickly and easily adjust pop-out/pop-in effects for any object on a slide and adjust its thickness.

No special hardware was required for the classroom since the 3D presentations could be viewed on their own classroom PC's using anaglyph 3D glasses. The final 3D presentations were delivered to the schools faculty and parents on a 3D-enabled projector.

"Feedback from our student's parents are that their kids are truly excited about what they are developing and are freely sharing their learnings with them. This is a huge engagement factor for middle school students" Amy Schmer, Dean of Students

Many students gave up lunch and PE periods to have extended learning time with Presente3D and the 3D classroom. These same students are requesting to have another in-depth class on 3D while other kids in the school are wondering when they can take the class.

"It's amazing to see what these students have produced in one semester. By showing their willingness to give up their lunch, gym and even stay after school just to work on their 3D presentations shows the impact 3D and Presente3D can make on learning. " Dennis Cafiero, Founder of Presente3D

Educators who are interested in learning more about Presente3D and how it can be used in your classroom can visit their education website at http://www.presente3d.com/3d-in-education.html

UCSC researchers develop 3D display with no ghosting for viewers without glasses
3D-News Posted: Sunday, July 14, 2013 (6:24 UTC) | Posted By: Webmaster

Researchers at the University of California, Santa Cruz, have developed a prototype for 3D 2D television that allows viewers with stereo glasses to see three-dimensional images, while viewers without the glasses see a normal two-dimensional image.

With existing 3D television displays, viewers must wear stereo glasses to get the effect of seeing images on the screen in three dimensions, while viewers without the glasses see a blurry image. That's because the 3D TV shows a different image to each eye through the stereo glasses, and a viewer without the glasses sees both images superimposed, resulting in "ghosting."

"There are a lot of reasons why it would be desirable to not need the glasses," said James Davis, associate professor of computer science in the Baskin School of Engineering at UC Santa Cruz, who led the project. "They can be expensive, so you wouldn't want to buy extra pairs, and they can interfere with other activities."

Davis developed the new technique with UCSC graduate students Steven Scher, Jing Liu, Rajan Vaish, and Prabath Gunawardane. His team will present their 3D 2D TV technology at SIGGRAPH 2013, the 40th International Conference and Exhibition on Computer Graphics and Interactive Techniques, on Thursday, July 25, in Anaheim. They have also described it in a paper in the June issue of ACM Transactions on Graphics.

Davis's 3D 2D TV shows separate left and right images when viewed through glasses, but those without glasses see only the left image. The system also displays a third image, which is not seen through either lens of the glasses. The third image is the negative of the right image--bright where the right is dark, and dark where the right image is bright--canceling out the right image so those without glasses see only the left image.

With this simple version of the system, 2D viewers see a low-contrast image, because the darkest pixel is relatively bright. To restore acceptable contrast to 2D viewers, the researchers allowed the images seen by the left and right eyes of 3D viewers to have unequal brightness, where the left becomes brighter and the right dimmer. Then they conducted several experiments to determine the optimal brightness ratio between right and left images. They found that brightness ratios in the range between 20 percent and 60 percent were acceptable for viewers both with and without glasses.

The researchers also conducted experiments to quantify the "Pulfrich effect," which slightly distorts depth perception of moving objects when one eye sees a darker image than the other, as if the darker image had been delayed a few milliseconds. They found that this "virtual time delay" is similar in magnitude to the actual time delay experienced with sequential-frame 3D displays, which show left-right image pairs with an 8 millisecond delay between left and right images on a 120-Hz display.

Their findings indicate that the Pulfrich effect is not an obstacle to using unequal brightness for right and left eyes in a 3D 2D TV. In fact, they found that the virtual time delay of the Pulfrich effect can be used to cancel the effect of the actual time delay in a sequential-frame stereo display.

The researchers built a prototype of their 3D 2D TV by aligning a 3D projector with a second, polarized projector used to project the negative of the right image. The image from the polarized projector is not visible through the LCD active shutter glasses synchronized to the 3D projector.

The researchers have filed a patent application, and one of Davis's students, Jing Liu, has been working with students at Stanford University's Graduate School of Business to look into starting a company based on this technology. They are off to a promising start, garnering positive feedback at Stanford's "Startup Weekend" business plan event, Davis said.

New analysis yields improvements in a classic 3D imaging technique
3D-News Posted: Sunday, July 14, 2013 (6:23 UTC) | Posted By: Webmaster

Research conducted at Curtin University in Perth has enabled significant increases in image quality in a widely used 3D printing technique that is more than 100 years old.

Anaglyph printing - think of the red-and-blue 3D glasses used to transform 2D images to 3D images in comics, magazines, books, and newspapers - came into being when the continuous-tone printed anaglyph was invented by French physicist Louis Ducos du Hauron in 1891.

The technique works by combining the left and right images of a stereoscopic image pair into the red and blue color channels of the output anaglyph image. With the red/blue 3D glasses, the left eye sees only the red channel of the anaglyph image, and the right sees only the blue. If the anaglyph 3D image has been constructed correctly, the viewer sees a pleasing 3D image on the printed page.

The project team, led by Curtin research engineer Andrew Woods, targeted crosstalk problems which are visible as ghost-like shadows. Their paper published recently in the SPIE journal Optical Engineering details seven recommendations for overcoming crosstalk.

"The largest reduction in crosstalk is likely be achieved by using inks which have a better spectral purity than current process inks used in color printers," Woods said. "We found that an 80% reduction in crosstalk was potentially achievable just by changing the cyan ink."

The anaglyph technique is easy to implement and the anaglyph 3D glasses are relatively cheap, so the technique is used very widely, Woods said.

However, printed anaglyph images often suffer from a number of image quality limitations. When the 3D image is viewed through the colored glasses, there is often a significant amount of crosstalk (or ghosting), an undesirable property of some 3D techniques whereby the left eye sees some of the image intended for only the right eye, and vice-versa. Crosstalk is usually visible as ghost-like shadows throughout the image. If crosstalk levels are too high, the quality of the 3D experience can be significantly reduced.

"The printed anaglyph is 121 years old, but this appears to be the first time that a detailed technical simulation of crosstalk in printed anaglyphs has been developed," Woods said. "We started by measuring the spectral characteristics of various printing inks, 3D glasses, light sources, and papers. From there we developed a simulation which models the viewing of an anaglyph 3D image, and subsequently performed an experiment to validate the accuracy of the model. We hope this work will help provide a 21st-century improvement to the 19th-century invention."

In addition to changing the cyan ink, recommendations include using high-quality anaglyph glasses, an optimized light source, and improved image processing algorithms.

The full paper is available via open access in the SPIE Digital Library: "Characterizing and reducing crosstalk in printed anaglyph stereoscopic 3D images."

Pelican Imaging Showcases 3D Video Capture with Mobile Array Camera
3D-News Posted: Sunday, July 14, 2013 (6:23 UTC) | Posted By: Webmaster

Pelican Imaging released a video to showcase the groundbreaking capabilities of the Pelican mobile array camera, including all-in-focus image capture, linear measurement, and 3D video capture.

The video can be found on Pelican's website at http://www.pelicanimaging.com/3D and on YouTube at http://bit.ly/16z62KK
Pelican's advances in computational imaging are enabling a new frontier for consumers: to capture still images and video footage with depth information of the scene, which in turn enables users to perform a range of post-capture edits such as refocusing, selecting multiple objects of focus, measuring distance between any two points, or creating a depth map/3D model of any scene. Because images and videos are captured all in focus, you can't miss your photo. Pelican's camera is about 50% of the thickness of the best-in-class camera modules shipping in mobile phones today.

"In our video pieces, we are illustrating creative examples of our vision for depth-enabled features," said Pelican Imaging CEO and President Christopher Pickett. "The applications for this technology are endless. We're looking forward to working with our customers, strategic partners, and third party application developers to bring Pelican's mobile array camera to market in late 2014."

Trumbull Taps Codex for Experimental Short UFOTOG
3D-News Posted: Sunday, July 14, 2013 (6:23 UTC) | Posted By: Webmaster

Filmmaking pioneer Douglas Trumbull recently used Codex recording technology in the production of UFOTOG, the world's first high-frame rate (120fps), stereoscopic 3D film. Trumbull and his production team at Trumbull Studios employed Codex Onboard S Recorders to capture 4K raw data from a pair of Canon C500 cameras, each shooting at 60fps. The project, which is currently in postproduction, is designed to demonstrate the potential of high frame rate imagery and Trumbull's vision for a new form of immersive cinematic entertainment.

The production of UFOTOG, expected to run approximately 10 minutes, spanned several months. Trumbull (known for his groundbreaking work in creating visual effects for such films as 2001: A Space Odyssey, Close Encounters of the Third Kind and Bladerunner) and his crew first needed to design a workflow to support the capture of stereo streams of high-frame-rate, 4K raw data.

After conducting numerous tests, Trumbull chose to shoot with Canon C500 cameras due to their unique ability to shoot 4K raw at 60fps. "I had the good fortune to work with an early version of the C500 while shooting test footage for Terrence Malick and his film Tree of Life," Trumbull recalls. "I liked the colorimetry of the camera, the resolution, the form factor, the weight. I thought it was the perfect choice for my 3D film."

Once the C500 was selected, the choice of Codex's Onboard S Recorder for data capture was a foregone conclusion as it is the only recording device capable of capturing raw data at 60 fps from the Canon C500 camera. "The key thing that I wanted was raw 4K" he says. "That results in a lot of data and only the Codex recorders could do it."

Even so, Trumbull said that the production proved immensely challenging. "The amount of data that we are working with is huge," he observes. "For this 10-minute film, we have 40 terabytes of material. It's a lot of storage, a lot of throughput, a lot of high bandwidth. The Codex recorders worked flawlessly."

Consistently leading the way in digital recording technology, Codex recorders have become the industry's gold standard and the obvious choice for productions with demanding or unusual workflow requirements, as well as most Hollywood blockbusters. Lightweight Codex Onboard S recorders are currently being used on the new DreamWorks SKG action film Need for Speed; some eight Codex recorders are being used to support more than 35 cameras, in many cases under the most extreme conditions.

Similarly, Codex Onboard S recorders were recently used to record 4K data from the Canon C500 at speeds up to 120fps for the motorcycle documentary Why We Ride.

Trumbull says that it is crucial for pioneers like him to have the support of the industry's technology leaders. "Codex and Canon have been great partners," he says. "They've been fantastic."

5 years of stereo imaging for NASA's TWINS
3D-News Posted: Sunday, July 14, 2013 (6:22 UTC) | Posted By: Webmaster

Surrounding Earth is a dynamic region called the magnetosphere. The region is governed by magnetic and electric forces, incoming energy and material from the sun, and a vast zoo of waves and processes unlike what is normally experienced in Earth-bound physics. Nestled inside this constantly changing magnetic bubble lies a donut of charged particles generally aligned with Earth's equator. Known as the ring current, its waxing and waning is a crucial part of the space weather surrounding our planet, able to induce magnetic fluctuations on the ground as well as to transmit disruptive surface charges onto spacecraft.

On June 15, 2008, a new set of instruments began stereoscopic imaging of this mysterious region. Called Two Wide-angle Imaging Neutral-atom Spectrometers or TWINS, these satellites orbit in widely separated planes to provide the first and only stereo view of the ring current. TWINS maps the energetic neutral atoms that shoot away from the ring current when created by ion collisions.

In five years of operation, the TWINS maps have provided three-dimensional images and global characterization of this region. The observatories track how the magnetosphere responds to space weather storms, characterize global information such as temperature and shape of various structures within the magnetosphere, and improve models of the magnetosphere that can be used to simulate a vast array of events.

"With two satellites, with two sets of simultaneous images we can see things that are entirely new," said Mei-Ching Fok, the project scientist for TWINS at NASA's Goddard Space Flight Center in Greenbelt, Md. "This is the first ever stereoscopic energetic neutral atom mission, and it's changed the way we understand the ring current."

Each spacecraft is in a highly elliptical orbit called a Molniya orbit, during which the spacecraft spend most of their time around 20,000 miles above Earth, where they get a great view of the magnetosphere. Initially launched for a two-year mission, TWINS was formally extended in 2010 for three more years, with another multi-year extension pending. Over that time, TWINS has worked hand in hand with other NASA missions that provide information about Earth's magnetosphere.

"We've done some fantastic new research in the last five years," said David McComas, the principal investigator for TWINS at the Southwest Research Institute in San Antonio, Texas. "As a mission of opportunity, it is a very inexpensive mission and it continues to return incredible science."

TWINS science is based on two instruments that can track neutral atoms. The first is a neutral atom imager that records the atoms that naturally stream away when a neutral atom collides with an ion. This allows the instrument to map the original ions from far away – as if it could see atoms the way we see light – instead of only collecting data from the areas of space it passes through.

"Over the course of the last 20 years a completely new technique evolved so we can observe charged particles, such as those in the ring current, remotely," said McComas. "The charged particles sometimes collide with a slow-moving neutral particle, in this case from a population of neutrals from Earth's highly extended atmosphere, the geocorona."

When this happens, an electron hops from the slow neutral atom to the fast ion, so now the former becomes charged, and the latter neutral. That new neutral speeds off in a straight direction, unfazed by the magnetic field lines around Earth that guide and control the motion of charged particles. TWINS collects such fast neutral particles and from that data scientists can work backward to map out the location and movement of the original ions.

The other instrument on TWINS is a Lyman alpha detector, which can measure the density of hydrogen from afar, and in this case observes the hydrogen cloud around Earth, the geocorona.

Most importantly, these instruments exist on both of the TWINS spacecraft. Much of the successful research in the last five years relies on the ability to watch these neutrals from two viewpoints, allowing scientists to analyze not only speed and number of particles, but also to determine the angles at which the particles left their original collisions. The stereo vision contributed to the detailed perspectives on how the magnetosphere reacts to space weather storms: both those due to the impact of a coronal mass ejection that traveled from the sun toward Earth and due to an incoming twist in the solar wind known as a co-rotating interaction region. TWINS has also revealed that the pitch angle at which the ions travel around Earth is different on each side of the planet. Such information helps scientists determine whether the ions are more likely to escape from the ring current out into space or to ultimately funnel down toward Earth.

"TWINS is a stereo mission, providing the first observations of the neutral atoms from two vantage points, but two spacecraft give us another advantage," said Natalia Buzulukova, a magnetospheric scientist at Goddard who works with TWINS data. "Two spacecraft provide continuous coverage of the ring current, as one set of instruments always has a view."

Because the spacecraft orbits are not in sync they provide stereoscopic imaging for a few hours each day, but there is always at least one spacecraft keeping tabs on how events are unfolding. Prior to TWINS, a spacecraft might see a tantalizing process taking place in the ring current for only a short while before its orbit took it out of view. The event might well have finished before the spacecraft came back around for its second look.

Such continuity has proved useful to determine what governs whether particles in the ring current will precipitate downward toward Earth as well as to provide a global temperature map of the magnetic tail trailing behind Earth, the magnetotail. Such a map had only ever previously been inferred from models and statistical analysis, never from a comprehensive data set of what was actually observed.

The Lyman-alpha instrument has been used in two ways. For one thing, it quantifies the geocorona in order to better understand how it affects the collisions in the ring current. It also has taught us more about the geocorona itself. Previously, researchers believed it to be a fairly simple sphere around Earth. The two TWINS instruments have shown how asymmetric it is, changing with the solar cycle, seasons, and even the hours of the day.

A final important feature of this fire hose of TWINS data is how much it helps improve computer simulations of the ring current and the rest of the magnetosphere. With accurate computer models, scientists can better predict how the magnetosphere will react to any given space weather event.

"We get two really unique things with two spacecraft: stereo imaging and continuous coverage. Together the observations we get are fantastic," said McComas. "It's an incredibly powerful combination of tools."

Goat & Yeti Announces Stereoscopic 3D Camera Rig
3D-News Posted: Sunday, July 14, 2013 (6:22 UTC) | Posted By: Webmaster

Goat & Yeti, LLC, a stereoscopic 3D production house, announced the debut of their new stereoscopic 3D beamsplitter rig, The Robert Rig. In development for several years, the Robert Rig is the most affordable beamsplitter rig commercially available.

"The Robert Rig's unique design allow for great results at a fraction of the cost of traditional beamsplitter rigs," said Jesse Blanchard, principal designer of the Robert Rig. "Already, beta versions have won the top prizes at festivals competing with films shot on system costing 10x as much."

The Robert Rig is custom machined out of aluminum and features a host of unique features including: custom inter-ocular scales to set depth; extra mounting holes for accessories; a patent-pending axis isolation calibration method, and mounts which can be easily reconfigured to accommodate different cameras. In addition, the rig ships with a free 3D alignment chart. Goat & Yeti also offers free 3D tutorials for customers.

"This rig is rock-solid; easy to use; and very affordable,' says Blanchard. ‘We've taken all the features we want and packed it into the Robert Rig. We hope the price-point and ease of use open 3D up to a broader set of content creators."

Goat & Yeti, founded in 2011 and headquartered in Portland, OR, provides stereoscopic content, editing, motion graphics and equipment. Their original 3D films have been awarded the Lumiere Award from the International 3D Society as well as top prizes from the Los Angeles 3D Film Festival.

Disney Research creates techniques for high quality, high resolution stereo panoramas
3D-News Posted: Sunday, July 14, 2013 (6:22 UTC) | Posted By: Webmaster

Stereoscopic panoramas promise an inviting, immersive experience for viewers but, at high resolutions, distortions can develop that make viewing unpleasant or even intolerable. A team at Disney Research Zurich has found methods to correct these problems, yielding high-quality panoramas at megapixel resolutions.

Using software to digitally stitch overlapping images together into large panoramas has become popular and commonplace, with stitching tools available even in some consumer cameras. Methods for creating stereo panoramas that add the impression of depth to standard 2D panoramas also have been developed, but problems arise when applied to high resolution images.

"Images captured at higher resolution and quality often pose novel challenges," explained Alexander Sorkine-Hornung, research scientist at Disney Research Zurich. When such images are stitched into a stereo panorama, the results may be buildings that seem to sway wildly or expand and contract as perspective shifts. Likewise, people or objects that look three-dimensional from one perspective may appear flat as the line of sight changes.

The problems arise when left eye/right eye parallax views are introduced in a panorama to create the impression of depth. Such a panorama could be created using two cameras that capture images for each eye, but more commonly a 360-degree panorama is captured with a single, rotating camera. By mounting the camera on an offset arm, it's possible to capture images at varying centers of projection, so that a stereoscopic image can be produced by stitching together specific strips from the input views. But artifacts such as visible seams between photos that might be bearable in a regular panorama can lead to an intolerable experience when viewing stereo panoramas at high resolutions. For instance, the wide angle lenses typically used to create panoramas make objects near the edges of images appear larger than those in the center. When such images are stitched together in a horizontal stereo panorama, it can create vertical parallax that causes buildings or other objects at the top of the panorama to tilt or sway as the viewer's perspective changes.

The Disney Research team developed methods for correcting the optical distortion of the wide angle lenses, as well as correcting less-than-perfect camera orientations, such as when images are captured with a handheld camera. Other problems relate to visible seams between images that have been stitched together, such as lines or walls that should be straight but appear wavy or crooked. One reason for such problems is that cameras capture light rays from only a limited amount of pixels per view as well as a limited number of camera viewpoints. "Simply capturing more and higher resolution images usually isn't feasible and, more importantly, doesn't fully resolve the issues," Sorkine-Hornung said. To counteract the root problem, the team developed an optical flow-based upsampling method, which interpolates what light rays are missing in between.

The team found that their techniques for correcting problems in 360-degree stereo panoramas were robust and could apply to other sorts of panoramas, such as linear panoramas where, instead of rotating on a fixed base, a camera is mounted on a car or otherwise moves in a straight line.

In addition to Sorkine-Hornung, the team included Christian Richardt, Yael Pritch and Henning Zimmer, all of Disney Research Zurich; Zimmer also is a post-doctoral researcher at ETH Zurich and Richardt is a post-doctoral researcher in the REVES group at INRIA Sophia-Antipolis in France. More information about the study, including a video, is available at http://www.disneyresearch.com/project/megastereo/

DDD licenses TriDef 3D to Hampoo for glasses-free 3D tablets
3D-News Posted: Sunday, July 14, 2013 (6:21 UTC) | Posted By: Webmaster

DDD Group plc has licensed its TriDef 3D Mobile content solutions to Hampoo Science & Technology Co. Ltd for the world's first 10.1" glasses-free 3D tablets for mass production.

Based in China, Hampoo is a leading innovative mobile interactive device solution provider. Hampoo's new 10.1" tablets are being showcased at Computex 2013 this week in Taipei. These devices use the TriDef 3D Mobile solution to automatically convert 2D photos, videos and games into 3D. The screens are high definition and provide 3D viewing without the need to wear glasses.

The tablets are expected to launch in the third quarter of 2013. DDD will receive quarterly royalty revenues from Hampoo based on the volume of 3D tablets shipped.
TriDef 3D Mobile allows over 50 of the latest popular Android mobile games, including "Angry Birds", "Blood and Glory" and "Cordy", to be played in stereoscopic 3D 'off the shelf', even though the games were not specifically developed for 3D.

The Hampoo tablets are also compatible with the soon-to-be-released Yabazam 3D Android app, which provides the same original 3D programming available via DDD's Yabazam content portal. Yabazam has over 80 streaming 3D movie titles for viewing on 3D consumer devices and that number is expected to grow significantly over the next year.

Chris Yewdall, Chief Executive of DDD, said: "Our TriDef 3D Mobile solution is gaining traction in the rapidly developing 3D glasses-free tablet market. We are pleased to be welcoming Hampoo as our latest licensee as it prepares to launch the world's first 3D tablet for mass production."

Star Wang, Chief Executive of Hampoo, said: "With DDD's proven TriDef 3D solutions we can offer a full range of 3D entertainment and gaming with our new glasses-free 3D tablets, which is very important for our customers. We are committed to bringing more innovative solutions to the market in future."

International 3D Society Announces 'New 3D Products of the Year' Awards
3D-News Posted: Sunday, July 14, 2013 (6:21 UTC) | Posted By: Webmaster

The International 3D Society announced it is now accepting nominations for its Stereoscopic "New 3D Products of the Year" Awards to be held in September 2013 in Hollywood, California.

The Society's "New 3D Products of the Year" Awards honor technical achievement in the stereoscopic medium; including: cinema, television, cellular and portable devices, special venue, themed attractions, video games, computers, 3D printing and other media. The Society is accepting entries from the 3D professional community to be voted upon by a blue-ribbon 3D Awards panel.

"The International 3D Society is proud to honor the contributions of those who create, invent and inspire us through their remarkable achievements in stereoscopic technologies. We are delighted to have this opportunity to recognize the 'best of the best' new products which are advancing the arts and sciences of all things 3D," said Society Awards Chairman, Buzz Hays.

This year marks the Society's first annual Awards to celebrate new 3D products and technologies. The Society annually awards its gold Lumiere™ statuette for the best 3D movies, television, commercials, and video games each February. The "New 3D Products of the Year" Awards will recognize individuals and organizations that are making a significant impact on the advancement of stereoscopic arts and technologies from October 2012 through September 2013. All entries are due by August 2, 2013.

"As 3D content moves from movie screens to tablets, 4K and ultra hi-def TVs, phones and game consoles… these awards will shine the spotlight on exciting new products as well as the people and organizations driving these breakthroughs," said Jim Chabin, President of the International 3D Society. "This is our chance to let consumers know what new products the Hollywood pros are excited about," he added.

Rules, regulations and entry forms are available online at www.international3dsociety.com. Submission deadline is August 2nd, 2013. Winners will be announced in September, and honored at a ceremony in Hollywood.

DaVinci 3D Codes 'REAL' Rembrandt 3DTV at American Alliance of Museums Trade Show
3D-News Posted: Sunday, July 14, 2013 (6:20 UTC) | Posted By: Webmaster

Rembrandt 3D (rembrandt3d.com) formerly DaVinci 3D, introduced its Glasses-Free Auto-Stereoscopic 3D (AS3D) Monitor with its "Picture Perfect" Maestro Tools at the American Alliance of Museums trade show in Baltimore Md. in early June.

Stated John Pecora, R3D VP of Operations, "The AAM show was our first out of the Lab and into the marketplace after our re-branding. Formerly operating as Davinci 3D, we have changed our name to Rembrandt 3D to avoid marketplace branding confusion."

Displaying their latest Auto Stereoscopic 3D, (AS3D) glasses free 3DTV at the Hillmann & Carr booth at the AAM show, R3D received much attention and rave reviews. Commented Al Hillmann:

"We invited Rembrandt 3D to our booth at AAM because an earlier generation of its technology won a shootout to become the delivery platform for our 3D computer-animated production for the Annenberg Retreat at Sunnylands. It has been a standout success for us with a great client that demanded best-in-class technology in everything we created for them. When we first saw it... this is simply the most advanced AS3D we've seen."

Hillmann Carr is an industry leader in the creative design and full-service production of museum media programs and exhibits. In its recently completed project at the Annenberg Estate, Sunnylands, in Rancho Mirage, California, Rembrandt 3D played a key role in providing the AS3D monitor hardware and in the 3D conversion of CGI and high definition 2D video shots for their three-minute film on the evolution of the famous Mid-century modern Annenberg Residence. The Annenberg Estate is now open to the public when not in use as the site of high-level events such as this week's meeting of President Obama and Chinese Premier Xi.

R3D is gearing up for the international 3DTV Market by providing 3D content to its ROKU 3DTV site. This $60.00 retail black box easily allows ROKU consumer Internet Consumers to access 3D content for their living room TV.

In support of its international 3D content initiative, R3D has created a No-Risk "Profit Sharing" 3D conversion strategy for content owners. R3D, at its own expense, will convert 2D content to 3D and offer a 50/50 % revenue split after ROKU costs. This strategy allows 2D libraries, archives, and content owners a risk-free opportunity to re-monetize 2D content via the R3D Internet & ROKU channel. Content owners interested in evaluating this option should contact R3D for details.

Stated CEO Blumenthal, "Our R3D tools enhance and optimizes the depth quality of the WOWvx 3DTV while supporting viewer 'mastery' via remote control of the depth adjustments," Adding... "The Rembrandt 3D IP has been described as 'the icing on the cake', and supports market applications of B2B digital signage, entertainment, medical, military and QC market verticals. This is the first customer friendly, 'Real 3DTV' comparable to conventional 2DTV which is market ready NOW."

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Editor-in-Chief: Alexander Klein.

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