3D-News Archive September 2011


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3D Entertainment Distribution Unveiled 'Air Racers 3D' at Giant Screen Cinema Association's Annual IMAX Conference
3D-News Posted: Tuesday, September 27, 2011 (16:26 UTC) | Posted By: Webmaster


3D Entertainment Distribution recently hosted the IMAX industry premiere of "Air Racers 3D" during the Giant Screen Cinema Association's Annual Conference at the Texas State History Museum IMAX Theatre in Austin. The film takes audiences into Nevada's "Valley of Speed" for a spectacular exploration of the fastest motorsport in the world: the legendary Reno National Championship Air Races. It marks the first time in the event's 48-year history that a film on the Air Races has been produced entirely in 3D.

"Air Racers 3D" documents the highly competitive world of air racing and features spectacular footage of highly-modified World War II-era aircraft, including the P-51 Mustang, Corsair, Bearcat and T-6. Every September, exceptional daredevil pilots fight for position, wingtip to wingtip, and attain speeds of over 500 mph (805 km/h) while skimming, a mere 50 feet (15.25 m) above the ground, around an 8-mile (13-km) oval course marked off by ten giant pylons.

"This action-packed film will be available as of February 2012 to aviation enthusiasts and IMAX theatre moviegoers around the world," said Francois Mantello, Chairman and CEO of 3D Entertainment Distribution. "It is a unique celebration of excellence in flight that will enthrall audiences with the thrill and excitement of a unique sporting event considered by many to be the NASCAR of the air. Sadly, this presentation at Austin's Bob Bullock IMAX Theatre comes just four days after the tragic events at this year's Races."

"Our entire production team joins us in extending our deepest sympathies and condolences to all the families affected by last Friday's heartbreaking accident at the Reno National Championship Air Races," said Christian Fry, who co-directed "Air Racers 3D" with Jean-Jacques Mantello.

With a budget of USD 5 million, "Air Racers 3D" required two years of active production. Principal 3D photography took place during the 2009 and 2010 events and was completed last June after filming air-to-air sequences using new stereoscopic technologies, including a helicopter-mounted gyro‐stabilized aerial 3D camera rig, a custom wing mounted camera and 3D cameras placed inside the cockpit. All six classes of racing aircraft – Biplane, Formula One, Sport, T‐6, Jet Class and Unlimited – are featured in "Air Racers 3D."

Appearing, among others, in the film are Bill Destefani's 1944 North American P‐51D Mustang, "Strega" (pilot: Steve Hinton Jr.), Rod Lewis's Grumman Tigercat F7F‐3, "Here Kitty Kitty" (pilot: Stewart Dawson), as well as "Rare Bear", a Grumman F8F Bearcat (pilot: John Penney), Raju Mann's 1969 Aerovodochody L‐29 Delfin, "Raju Grace" (pilot: Heather Penney), and Marilyn Dash's 1974 Aerotek Pitts Special S‐1S, "Ruby" (pilot: Marilyn Dash).

The tradition of air racing began nearly 100 years ago with World War I barnstormers and eventually evolved into grand racing events organized to celebrate the aviation heroics of World War II. The last of their kind, the Reno Air Races began in 1964 as a revival of these high-speed competitions celebrating horsepower, ingenuity and the piloting skills of the men who operated these planes under tremendously perilous and dire circumstances.

"Air Racers 3D" is produced by 3D Entertainment USA and Pretend Entertainment in association with Stereoscope. The film is directed by Christian Fry and Jean-Jacques Mantello and features an original script written by Christian Fry and Rick Dowlearn. The soundtrack was composed by Christophe Jacquelin. The film is executive produced by Francois Mantello, John Constantine and Jeffery Pierce, and produced by Christian Fry and Raul Leckie.

The official film website is http://www.AirRacers-theFilm.com

3D Entertainment Distribution's 'Sea Rex 3D' Takes 2 Million IMAX Theatre Moviegoers Back In Time
3D-News Posted: Tuesday, September 27, 2011 (16:25 UTC) | Posted By: Webmaster


3D Entertainment Distribution announced that its latest IMAX theatre release, "Sea Rex 3D: Journey to a Prehistoric World," which critics have described as "making education cool," has been enjoyed by 2 million viewers to date in 21 countries and nineteen different languages. "Sea Rex 3D" innovatively sheds light on the extraordinary larger-than-life marine reptiles which, with their daunting size and natural ability for predation, were already ruling the ancient underwater world 20 million years before dinosaurs roamed the earth.

Benefiting from a staggered distribution pattern at IMAX theatres, "Sea Rex 3D" was first launched in the US in June 2010 before opening in select international territories, including Japan, Russia, Singapore, the United Kingdom, France, Germany and Eastern Europe. A total of 76 IMAX theatre engagements have currently been signed for the film in 28 countries.

Building on this success, Universal Pictures International Entertainment (UPIE) has acquired the home entertainment rights to the film in key territories, including North America. "Sea Rex" will be released on Blu-ray™ in 3D and 2D in the US on November 15th through Universal Studios Home Entertainment and in Western Europe shortly thereafter. This latest collaboration follows an initial agreement signed with UPIE in November 2010 for the international Blu-ray™ release of Jean-Michel Cousteau's "Ocean Wonderland 3D," "Sharks 3D" and "Dolphins & Whales 3D," which was extended this past June to include the US, Canada and Mexico.

"We are so pleased to once again be partnering with UPIE and to have the opportunity to bring this fascinating prehistoric universe straight into people's homes in 3D," said 3D Entertainment Distribution's Chairman and CEO, Francois Mantello. "After just sixteen months of exhibition, 'Sea Rex' is on track to reach the USD 12 million mark at the box office by the end of September, proving its growing popularity with audiences around the world."

"'Sea Rex 3D' is visually stunning in 3D and will deliver a truly unique cinematic home entertainment experience thanks to its innovative story, state-of-the-art computer-generated images and historical reenactments," said Eddie Cunningham, President of Universal Pictures International Home Entertainment. "Our company is leading the charge to deliver the highest quality 3D entertainment directly to consumers through the new ultrahigh-definition Blu-ray™ 3D technology, the current cutting edge in home theatre entertainment."

"We are thrilled to see our film, which we think of as being the ultimate combination of science and entertainment, made available to an ever wider audience via this exciting high-definition 3D technology," said Pascal Vuong and Ronan Chapalain, the Film's co-writers and co-directors. "This new format will allow households an up-close and personal encounter with the T-Rex of the Seas including the ferocious Liopleurodon, the long-necked Elasmosaurus, the big-eyed Ophthalmosaurus and the giant 75-ft long Shonisaurus."

This month alone, "Sea Rex" is scheduled to open at the Royal British Columbia Museum (Victoria, BC), the Hong Kong Space Museum (HK), the Museum of Discovery & Science (Fort Lauderdale, FL), the IMAX Theatre at the Minnesota Zoo (Apple Valley, MN), the Toyohashi Museum of Natural Science (Japan), the Swiss Transport Museum (Lucerne, Switzerland) and at Cinema City's IMAX theatres in Bucharest (Romania) and Budapest (Hungary).

"Sea Rex 3D" has also been named as a finalist in the "Best Earth Sciences Program" category at the upcoming Jackson Hole Wildlife Film Festival and was recognized with both the Best Edutainment and Best Stereography awards at Paris' Dimension 3 Festival, as well as the Best Documentary Award at the latest 3D Stereo Media Festival in Liege (Belgium).

"Sea Rex 3D" is rated Universal by the British Board of Film Classification (BBFC), the equivalent of a General Audience rating from the Motion Picture Association of America. According to the BBFC, films classified as Universal are suitable for audiences aged 4 years and over. The film stars Richard Rider and Chloe Hollings, respectively, as "Georges Cuvier", a major historical figure considered by many to be the father of vertebrate paleontology, and "Julie", an imaginative young woman. The film was produced by N3D Land Productions and Mantello Brothers Productions.

El Super Stores Just Got Cooler with the First 'Glasses Free' 3D Ad Network - Coca-Cola Partners with 9D Media
3D-News Posted: Thursday, September 22, 2011 (16:42 UTC) | Posted By: Webmaster


Next time you enter El Super (http://www.ElSuperMarkets.com) to do your grocery shopping, you might see a Coca-Cola bottle floating towards you. Beginning on September 21st, 2011 shoppers at one of the United States' leading and fastest growing independent Hispanic grocery store chains, owned by Bodega Latina Corporation, will experience 3D advertising at its best. The Coca-Cola Hispanic 3D Ad Network is the world's first "glasses free" 3D digital out of home signage network purely targeting Hispanics. People will see ads floating as far as 2 feet away from the screen allowing consumers to have a much closer experience with various products.

The Coca-Cola Hispanic 3D Ad Network came to life with two 46 Inch flat panel "Glasses Free" 3D displays in all 36 El Super locations in California, Nevada and Arizona. As the title sponsor, Coca-Cola will feature 3D ads for several of its brands. Kraft Foods and Nestle are a few of the other advertisers already committed to a 3D ad campaign on the network beginning from the launch.

9D Media (http://www.9DMedia.TV), owners of the Hispanic 3D Ad Network, has signed contracts to place these screens in numerous other Hispanic store chains beginning in January 2012. "We will have the only national network of "Glasses Free" 3D screens purely directed at the Hispanic consumer." comments Mike Bremner, President of 9D Media.

"Unlike an older technology of "Glasses Free" 3D screens that require the viewer to stand directly in front of the screen to see the 3D illusion, or see absolutely nothing at all, these are big bright beautiful 46 inch flat screen displays that allow the viewer to see the 3D illusion from a full range of view, left to right, in front of the screen" Bremner continues. "Better yet, we're a media company with a highly skilled animation department NOT a technology company. That means we can produce content for any of the "Glasses Free" 3D screens available on the market today, leaving us the ability to choose the best supplier of 3D screens for our network as the technology continues to improve, and it will !" laughs Bremner.

iPONT to Exhibit 'Live' 3D Broadcast Technologies on Glasses-Free 3D TV
3D-News Posted: Thursday, September 22, 2011 (16:42 UTC) | Posted By: Webmaster


iPONT USA, an innovator and technology partner in the glasses-free 3D market, introduced the second generation of its breakthrough 3D without glasses system, which gives viewers the most convincing and immersive 3D-viewing experience to date. iPONT USA will demonstrate a 3D TV Box, which converts any stereo 3D source, including 'live' 3D broadcasts, in real-time for viewing on a 3D without glasses screen.

The demonstration by the glasses-free innovator aims to prove that without-glasses 3DTV technologies have reached a level of maturity and quality acceptable to the consumer market. iPONT has developed a system that produces real-time 3D pictures that are both clean and crisp with breathtaking depth, and all without glasses.

"Glasses-free 'real-time' 3DTV, without any noticeable processing delay, has been an industry challenge but we are close to delivering that premium-quality glasses-free 3D experience for the consumer in their living room," said Glen Harper, President of iPONT USA. "This year iPONT has participated in a number of high-profile 'live' without-glasses 3DTV sports trials including the UEFA Champions League final between Manchester United and FC Barcelona, Wimbledon men's final and Haye VS Klitschko fight, where the technology came under scrutiny. Having learned much about both the technology and 3D broadcast content already our latest product generation is certain to mark a wave of glasses-free 3DTV technologies."

iPONT's 3D TV box technology, available as a set-top box and in the future as embedded technology converts any 3D with glasses content today (all 3D broadcast signals are currently broadcast this way) into auto-stereoscopic content for use on glasses-free 3D TVs and displays, in real-time. The 3D TV box can handle Internet, satellite, cable and terrestrial services that stream 3D content directly into the home or businesses.

"True 'real-time' without-glasses 3D TV/display technology will bring to life visual experiences in shopping centres, airports, entertainment venues like sports bars and amusement parks as well as sports arenas," said Harper.

For more information, visit http://www.ipont3d.com

Superfad Creates 3D Animation for Monty Python Member's Feature Film
3D-News Posted: Thursday, September 15, 2011 (4:24 UTC) | Posted By: Webmaster


Monty Python fans will rejoice in the upcoming release A Liar's Autobiography (EPIX) an animated 3D stereoscopic film based on the memoir by Monty Python member Graham Chapman. Superfad is one of the key creative teams involved in the project and is currently in production on a seven-minute sequence for the highly anticipated film. The EPIX stereoscopic animated feature, made in association with Bill and Ben Productions Ltd., Trinity (UK) and Brainstorm Media, tells the story of Chapman's life in the famously atypical Python style.

Superfad designed extensive character studies for the young Graham, mother and father, before going into production on the animated sequence. It is the first 3D production by Superfad and the official foray of the company into feature film animation production. For Superfad’s creatives, many rabid Python enthusiasts, the opportunity to contribute to the film is an honor and the opportunity break new ground for the company in terms of its creative and technical reach.

"This project is exciting for so many reasons, from the irreverent and compelling narrative to the structure involving many different animation companies, to the stereoscopic production," comments Superfad Partner/EP Geraint Owen. "It is a first of its kind and totally original. We can't wait to see it all come together on the big screen.”

The film's world television premiere will be in both 2D and 3D on EPIX and EpixHD.com in the Spring of 2012 and released theatrically in the UK by London-based Trinity. Details on the film can be found at

SGO's IBC2011 Innovation Award entry results in Special Award granted to Atlantic Productions, with Sky 3D, ONSIGHT and SGO Mistika
3D-News Posted: Wednesday, September 14, 2011 (15:34 UTC) | Posted By: Webmaster


SGO announced that the IBC2011 Special Award was presented to Atlantic Productions with Sky 3D, ONSIGHT and SGO Mistika as supporting partners at the Innovation Awards ceremony. The accolade was for remarkable Stereo 3D production and post production of Flying Monsters 3D with David Attenborough, using Mistika, at London's ONSIGHT. Produced by Atlantic Productions for Sky 3D TV and IMAX, the project was selected as a Finalist in the Content Creation category for ONSIGHT with SGO.

Anthony Geffen at Atlantic Productions paid tribute to Sky for showing commitment to supporting the best 3D production and stated at the ceremony: "I would also like to thank Simon Craddock, Andy Shelley and the team at ONSIGHT, and the team behind SGO Mistika, whose collaboration was essential for the success of the film. When we started this production, we didn't know how we were actually going to finish it. I'm proud, not only that we did so, but that we have embarked on a journey together to go forward to ever more exciting projects in 3D."

"As the entrant and ONSIGHT's supporting partner of the awards, we are really thrilled that this incredible project has received recognition. We feel proud to receive the IBC Special Award along with ONSIGHT, Sky and Atlantic Productions. We also want to thank IBC and the Innovation Awards judges."says Miguel Angel Doncel, CEO of SGO.

Flying Monsters 3D with David Attenborough required the latest in technology and resolution to bring to life a prehistoric world with cutting-edge Stereoscopic live action and CGI images. At the heart of the post process was ONSIGHT's digital lab and post facilities. Credited with the most advanced stereoscopic toolset, Mistika was chosen by ONSIGHT for all the Stereo 3D post production work in the landmark film.
ONSIGHT networked two SGO Mistika systems together to meet Sky and 3D IMAX demands with multiple-format deliveries. Mistika's flexibility, powerful capabilities and management of RAW data file formats, improved workflow efficiency delivering quality results within tight time-frames, ensuring seamless, time-saving adjustments in real-time.

Sir David Attenborough also received IBC's highest award, the International Honour for Excellence, for his contribution to broadcasting and sixty-year career. Anthony Geffen of Atlantic Productions accepted it on his behalf. Clips of the film were shown in the Auditorium using IBC's state-of-the-art technology. The audience was also treated to sneak previews of current 3D projects at Atlantic Productions, which include Kew Gardens, Bachelor King and Rockstar, which will be post produced in Stereo 3D using Mistika at ONSIGHT.

An annual highlight of the IBC show, the IBC Awards recognise those who have made a real contribution to the industry and whose careers have had a positive impact on its future direction. To view the awards listings, visit http://www.ibc.org/creation

Karlsruhe's University of Arts and Design leads the way to the future by investing in SGO Mistika's innovative technology
3D-News Posted: Saturday, September 10, 2011 (6:04 UTC) | Posted By: Webmaster


The University of Arts and Design (HfG) in Karlsruhe has invested in SGO's Mistika for its world-class research centre and state-of-the-art Expanded 3Digital Cinema Laboratory, to equip its students with the industry's leading and innovative technology. Developing creative individuals by providing relevant market-ready skills, applied research, innovation and ambition, the University of Arts and Design will place Mistika at the core of its post production courses.

The research centre is a well placed institute, situated between the University of Arts and Design and the ZKM Centre for Art and Media in Karlsruhe, focused on the development of stereoscopic motion picture and television content, as well as tridimensional video and audio art. Furthermore, the centre also offers new narrative forms in the field of scenic spacial staging and new visualising procedures, such as laser technology, satellite and microphotography, as well as ultrasonic and X-ray processing.

Professor Ludger Pfanz, a filmmaker as well as the head of the video, film, sound, 3D, mulitmedia and stage studios of the prestigious centre, established the laboratory in 2010, and has high ambitions to initiate the world’s first stereoscopic degree programme, with Mistika at the core of the curriculum.

"With the help of the Expanded 3Digital Cinema Laboratory, we reinvent the stereoscopic future every day. For this reason, we need tools that invent themselves every day, along with our ideas. With Mistika we found a magical system that solves tomorrow's problems today, in real-time." Professor Pfanz affirms.

"The Expanded 3 Digital Cinema Laboratory Institute is committed to development of artistic content for advancing 3D technology that currently captures the cinema and TV market. This idea complies fully with pioneering spirit of Karlsruhe University of Arts and Design." stated Professor Dr. Peter Sloterdjik, Head of the University of Arts and Design.

Marcos Silva, Sales Director of SGO's German Reseller, Fes Media says: "Mistika is a clear leader in stereoscopic editing and post production, and its capabilities bring tremendous benefits for students to further develop their technical expertise to be well equipped for the industry." Marcos adds: "SGO is proud to be associated with educational institutions of high calibre, such as the University of Arts and Design, that deliver the highest standards and encourage quality-driven results for future talented professionals."

Geoff Mills, Director of SGO Global Sales and Operations concludes: "A revolutionary workflow solution such as Mistika is an award-winning investment and asset. With 3D gaining momentum at a rapid pace, it is vital that Mistika plays a central role in well respected educational establishments, such as Ravensbourne in the UK, and now at the University of Arts and Design in Karlsruhe in Germany; and across the world."

Karlsruhe also has global aspirations and connections, and with assistance from the Ministry of Education and Research Baden-Württemberg, the institute is able to provide workflows for stereoscopic cinema, on par with Hollywood-style high quality. Facilities range from live action areas, post-production, autostereoscopy, through to an impressive digital 3D cinema which was developed in a collaborative effort with ZKM.

 The 3D-Alliance at Karlsruhe pursues industry-relevant goals which include the emphasis on the development of 3D documentaries and reportage formats; collective effort in developing technical solutions; the creation of a conjoint degree programme for stereoscopers; the establishment of mutually utilisable live-3D teaching and learning facilities; the organisation of the international symposium "3D and BEYOND" and the publication of textbook titled "3D Creative Stereoscopy".

NASA Stereo 3D Camera Rig Offers New Horizons for Film and Television
3D-News Posted: Saturday, September 10, 2011 (6:04 UTC) | Posted By: Webmaster


School Safety Summit announced that a new panoramic 3D motion picture camera rig developed at MIT under 2 NASA contracts, and capable of producing stereoscopic 3D cinema spectacles that completely surround the audience, will be tested by Colorado education leaders and community partners to visualize the schools of tomorrow.

The Summit's 3D Task Force invites filmmakers and 3DTV producers worldwide to join the experiment and develop scriptwriting and directing approaches that take full advantage of the 360-degree stereo 3D experience made possible by the new system.

Participating industry leaders will have a first look to evaluate applications in theatrical and home entertainment, special events, education, and enterprises that would benefit from omnidirectional robotic vision and depth perception as well as an unprecedented level of image and sound processing.

Interested parties may sign up at www.3DTaskForce.org for an orientation kit and schedule.

The stereoscopic imaging system, invented by Eric Prechtl, Ray Sedwick and Eric Jonas, synchronizes a large number of cameras to generate a high resolution, wide field of view image database from which images can be combined in real time.

New image blending techniques take image data that is transmitted wirelessly and provide an extended panoramic view in which the combined images form a full circle, or movie cyclorama. Images can also be combined so that the cycloramic view extends upwardly or downwardly to create a continuous, unobstructed, omnidirectional image that extends a full 4 pi steradians.

A user can be embedded into a scene to achieve a feeling of actually being on site. The user can scan around the scene or zoom in and out. Multiple users can access the data simultaneously and can independently look in different directions if desired.

According to the inventors, who are working directly with the 3D Task Force, an obvious application for NASA is the control of robots on planetary surfaces to collect samples or build permanent structures. The system offers enhanced communication between astronauts and ground personnel, and shuttle monitoring on lift-off. The system would also allow astronauts in space the ability to exercise or relax in realistic simulations of Earth environments.

Non-NASA applications are numerous. For schools, the system can be used to create intense crisis simulations to train school safety teams. The system can also be used to control firefighting drones, or allow the ability to quickly and realistically monitor a school building or campus. Other applications include event filming, and dramas that place the audience at the center of the story - content areas to be formally explored by the 3D Task Force.

For more information, visit http://www.3DTaskForce.org

Sharp Cookies chooses Mistika for Ground-breaking Blackpool Tower 4D Cinema Experience Film for Merlin Entertainments
3D-News Posted: Wednesday, September 7, 2011 (17:08 UTC) | Posted By: Webmaster


As part of a £20-million refurbishment of the iconic Blackpool Tower, London-based production company Sharp Cookies has produced a breath-taking 4D Cinema Film that was almost entirely post produced using SGO's Mistika post production system.

The visually stunning film was directed by Michael Hall, Co-Founder of Sharp Cookies for Merlin Entertainments Group Ltd – the owner of many major entertainment brands such as Tussauds, Alton Towers, Sealife and The London Eye. David Cox, also Co-Founder of Sharp Cookies, was the Stereographer and Post Production Supervisor on the project using Mistika.

The immersive 4D Cinema experience, which incorporates incredible 3D images, 7.1 audio surround sound and "fourth dimension" physical effects which include snow, rain, wind, smell and a vibrating floor, to name a few, is shown in a purpose-built theatre beneath one of the tower's own arches. Visitors to the top will view the 4D film as part of their overall Blackpool Tower experience.

Sharp Cookies' Co-Founder, Michael Hall, explains some of the key challenges that had to be met when creating the innovative film: "Apart from the underlying challenge of creating a piece of world-class entertainment for Merlin, the refurbishment works being carried out in Blackpool meant that we could not film the actual tower, including the building it rises from or the promenade and trams, as they were covered in scaffolding or being re-modelled at the time." Michael expands: " Needless to say though, these locations had to be the centre piece of any film about Blackpool and the Tower. Sharp Cookies split the production into four main areas which included a green screen shoot in London; internal location shoots in Blackpool for the Tower Ball Room and Tower Circus scenes; a stereoscopic 3D helicopter aerial shoot of the surrounding landscape, while all external footage of the tower and promenade was created in CGI. Clearly, and not withstanding the fact that it was a stereoscopic large screen project, the workload for post production was very high."

CGI played an important role in the making of the film and Sharp Cookies chose to interpret the restriction of having substantial on-going building work around the tower and seafront as an opportunity. Using CG allowed more freedom of camera moves, especially around the tower itself.

David Cox took the original drawn story board into Mistika and cut each shot into different layers so they could present and consider the effect of Stereo 3D on the project. "In an experience film, the 3D becomes a character in it's own right and as with all characters, there are times when it is the star and times when it should be in the background." David adds. Across shooting and post, the amount and position of 3D was carefully controlled, for example when the expressions of the child actor are the key messages from a scene, the 3D is subtle and not over-powering. On the other hand, carefully orchestrated '3D moments' were placed through the film making the audience duck or reach out to touch hovering objects. With the film being under five-minutes in duration, it was possible to 'turn up' the 3D effect without causing viewer fatigue, but it was still vital to carefully limit and manipulate the 3D so that effects were strong but not uncomfortable. This usually means carefully linking the stereoscopic aspect of 3D with other depth-cues such as focus, brightness and perspective.

Sharp Cookies shot the Blackpool project using two RED MX cameras, mounted on an Element Technica Quasar rig. Zoom lenses were used for the stereo shoot, rather than prime lenses. The common thinking for shooting 3D is that prime lenses provide a better match between the two images, as zoom lenses invariably zoom the left and right images slightly differently. However, because of the post workflow being carried out by SGO's Mistika, the team were confident in Mistika's ability to rapidly align the left and right images and therefore be able remove any mismatches from the lenses. The benefit was that the team could shoot much more quickly, because changes in framing did not require lens changes and rig adjustment. This was very important as the crew were shooting with young children and had time constraints to consider, however, they completed ahead of schedule every day and were even able to shoot many "bonus" takes.

The post workflow had Mistika involved at the start and at the end of the process; preparing the rushes for offline at one end and creating visual effects and grading at the other. David Cox, Stereographer and Post Production Supervisor across the project reveals: "Mistika provided the bulk of the post production work. At the outset, it aligned and prepared all the rushes for offline, meaning that the FCP editor did not have to concern himself with RAW camera files or unprepared stereo images that are hard to watch. Mistika's "Equalize" function meant that syncing and aligning some four hours of rushes took less than an hour."

David continues: "After the edit, Mistika carried out all the conforming and compositing, which included set extensions, green screen keying, CGI integration, graphic design, tracking and stabilising." Mistika was also used to grade and depth-grade the final images and deliver them in the required format. David adds: " I am 100% confident that no other post production system could have dealt with that much work, to that level of quality within the time-scale available, as Mistika had. And that's before we even considered the project was going to be in Stereo 3D!"

Using NVIDIA high performance Quadro graphics processing units (GPUs) driving Mistika's innovative stereo 3D technology contributed to achieving striking results. Super-performance Hewlett Packard Z800 workstations and 24" monitors were used in the post set up in order to improve efficiency and provide real-time working.

In the final week leading up to the official public opening, Mistika was relocated from London and installed in a nearby hotel suite in Blackpool with no complications. Director Michael Hall states: "Owing to Mistika's flexibility and portability, we found it to be very convenient technology for this project, as we decided to have it with us for the final leg of installation and 4D programming close to the actual location." Michael continues: "This allowed us to provide final tweaks and finishing touches to the 3D, to make it as perfect as possible in the environment in which it would be viewed." David Cox adds: "Since we had the Mistika in Blackpool, we even found something else to do with it. One of the 4D lighting display matrices inside the theatre could be run from an 8 pixel by 336 pixel video file, so I created that in the Mistika hotel suite, giving me the ability to synchronise the lighting effects to the film itself with ease."

Geoff Mills, Director of SGO Global Sales & Operations states: "This remarkable flagship project demonstrates perfectly just how versatile and powerful Mistika really is. The Blackpool Tower 4D Experience film was an immensely complex project, yet all the rushes preparation, conforming, visual effects, colour grading and deliverables have all been generated from a single Mistika system. Without Mistika, a project of this magnitude, would have required several systems from various manufacturers which would waste time as the project is moved and converted between the various post production areas." Geoff continues: " In such competitive times where value and quality are key, Mistika is a clear winner."

Miguel Angel Doncel, CEO of SGO adds: "We are very excited that Mistika’s capability has being recognised in the entertainment and attractions arena as well. The fact that a creative production company, like Sharp Cookies, and their client Merlin, are equally impressed with what the technology has achieved for their 4D film, is rewarding." Miguel concludes: "SGO considers David Cox as one of the top post production geniuses of his time. It is wonderful to witness the explosive results when a genius embraces Mistika."

The "Blackpool Tower 4D Experience" opened on the 1st September 2011, initially to over a hundred members of the national press. The end of the film was met with spontaneous applause and is now open to the public, who are also giving it widespread acclaim.

SGO will be showcasing the Mistika post production system again this year at IBC 2011, Stand A11, Hall 6, with footage from the Blackpool 4D project.

intoPIX PRISTINE boards now enable 4K 3D stereoscopic real-time JPEG 2000 encoding and decoding
3D-News Posted: Monday, September 5, 2011 (16:17 UTC) | Posted By: Webmaster


intoPIX announced that it has extended its PRISTINE board capabilities to include 4K 3D stereoscopic formats.

The 4K 3D Stereoscopic feature allows encoding or decoding through the use of two synchronized PRISTINE-4 boards in one system. A total of eight 3G-SDI inputs or outputs carry the 4K 3D stereoscopic video streams. These functionalities are now accessible through the standard intoPIX SDK, running on Windows or Linux Platforms.

Once more, intoPIX JPEG 2000 solutions enhance the rapid evolution of 4K in the Broadcast and Cinema markets.

The new PRISTINE board capability will be showcased during IBC 2011 in Amsterdam, 8th to 13th September, on the intoPIX booth 10D31.

PRISTINE boards accelerate JPEG 2000 encoding and decoding and support a wide range of resolutions from HD up to 4K, offering Visually or Mathematically Lossless compression. Each PRISTINE can easily be configured as encoder or decoder board and offers unprecedented connectivity. Standard I/Os display PCI-Express (8 Lanes) and an optional 3G-SDI panel (4in/4out) also supports HD-SDI and SD-SDI links.

In short, the PRISTINE board meets the challenge of any advanced application, including Digital Cinema Production, Lossless Archiving, High Quality Contribution, Digital Libraries, Aerospace and Geospace imaging, and Document & Medical imaging.

ONSIGHT invests in fourth SGO Mistika system to further boost on-going DI and Stereo 3D productivity
3D-News Posted: Monday, September 5, 2011 (8:09 UTC) | Posted By: Webmaster


In order to further reinforce its production pipeline to meet growing demand, London's Onsight, one of the UK's major DI and stereoscopic 3D specialists, expands with the purchase of a fourth Mistika 4K post production system. Reputed for using innovative technology such as Mistika, Onsight's on-going success in attracting DI and Stereo 3D projects has vastly increased. Onsight now offers clients a suite of SGO products, including 4 Mistika systems operating on shared storage, the Mistika on-set production tool and an SGO SAN.

With an understanding of the entire production process, Onsight provides a unique contribution to programme-makers, by offering advice at every stage from shoot to post. CEO of Onsight , Simon Craddock states: "It is imperative that our projects are managed as efficiently as possible in post, and Mistika plays a vital role in this process. Mistika continues to help us meet increasing and complex requirements that DI and Stereo 3D productions involve, with stunning creative results. Enhancing our capabilities with a fourth Mistika system was an obvious move for us. Mistika's impressive toolset also makes it the most desirable and interactive solution in the industry and it is very exciting to be utilising the most advanced technology available."

Onsight's COO, Andrew Shelley, adds: "Having another Mistika on board, further enhances our capacity to deliver time-sensitive and high quality material. The Mistika platform gives us incredible flexibility, and the ability to offer efficient workflows to our clients."

Geoff Mills, Director of SGO Global Sales & Operations, concludes: "Mistika already plays an integral role in the entire DI and Stereo 3D production pipeline at Onsight and we are proud to support them. Opting for an additional Mistika system, was a logical progression to fortify Onsight's existing collaborative workflows, as exciting projects continue to flow in. Mistika's phenomenal power in DI and Stereo 3D has opened opportunities for film-makers to create exciting content now and in the future."

SGO Mistika, the most sought-after DI and stereoscopic 3D toolset in the industry, was recently used at Onsight on the award winning Flying Monsters 3D with David Attenborough. The system was used for both 2D and stereo 3D post production, as well as the creation of TV, theatrical and IMAX deliverables . Due to the enormous scale of this film, Onsight networked two Mistika systems together, in order to improve efficiency where the online workload could be shared in real-time. The project illustrates how networking Mistika systems enables the VFX & Stereo 3D Artists to work simultaneously, consequently accelerating the process significantly. Onsight has been nominated for an IBC2011 Innovation Award with SGO Mistika as Technology Partner. www.ibc.org/creation

Onsight has recently provided production and post production services to a host of exciting projects. This includes True Blood – Peter Gabriel Live in London (3D) for Eagle Rock, the Bachelor King 3D for Atlantic Productions and A Day in the Life of an Audi Driver for Passion Pictures.

SGO will be showcasing the Mistika post production system again this year at IBC 2011, Stand A11, Hall 6.

IBC 2011 sees new product launch by SENSIO
3D-News Posted: Saturday, September 3, 2011 (6:44 UTC) | Posted By: Webmaster


SENSIO Technologies Inc. announced that new and upgraded products for its professional-equipment solution will be commercially available as of the IBC show in Amsterdam. Making their debut are the SENSIO® Noise Reducer, for cleaner SD, HD and stereoscopic 3D images, and multi-format versions of the SENSIO® 3D Encoder and Decoder. A key feature of all these products is that they are 100% Full Frame Compatible, supporting side-by-side and top-and-bottom formats as well as SENSIO® Hi-Fi 3D. Version 2.0 of SENSIO® Autodetect - the only commercially-available technology for automatically detecting whether an incoming video stream is in 2D or stereoscopic 3D - will also be released at the show.

"Stereoscopic 3D is currently at a crossroads," said Richard LaBerge, SENSIO Executive Vice-President and CMO. "For the medium to emerge from the testing lab and become an actual revenue stream, professional-grade solutions are required across the board that offer superior image quality, flexibility and cost-effectiveness. SENSIO's technologies meet all these criteria, and we are committed to maintaining and improving our existing products, as well as developing new ones, in order to provide what the industry needs."

Visitors to IBC will be able to discuss with SENSIO experts - by appointment only - how the new products and releases respond to their needs. In addition, they will be able to view the Superflex Pro Cinema Event Player (PCEP), which integrates award-winning SENSIO® Hi-Fi 3D technology, to be unveiled by long-time partner International Datacasting Corporation (IDC) in their booth 1.C29 at the European broadcasting tradeshow.

"SENSIO and International Datacasting have been innovating together since 2007, deploying solutions for live 3D in cinemas," said Frederick Godard, President and CEO, IDC. "The inclusion of SENSIO® Hi-Fi 3D technology was therefore a natural choice for our Pro Cinema Event Player."

Other professional products integrating SENSIO technologies are available from other partner companies that will be exhibiting at IBC, notably Bluestreak Technologies, Teranex Systems and Miranda Technologies.

Stereoscopy.com 3D-News (ISSN: 1612-6823) is published monthly by Stereoscopy.com, P.O. Box 102634, 70022 Stuttgart, Germany.
Editor-in-Chief: Alexander Klein.

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