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Archive of the 3D Presentation Category

XPAND 3D To Provide 3D Systems for Kino Expo 2012

ST. PETERSBURG, Russia – Once again delivering its world-class 3D technology in the most stylish form factor in the industry, XPAND 3D is announcing that it is the official sponsor of Kino Expo 2012, the international cinema industry convention taking place in St. Petersburg, Russia. This marks the third consecutive year that XPAND 3D is sponsoring Kino Expo.

In addition, XPAND’s local partner NEVAFILM will provide IR systems for the multiple 3D screenings at Kino Expo, which will employ 800 XPAND Infinity active 3D glasses.

Established in 1999, Kino Expo is the world’s third largest international exhibition of cinema equipment, with a focus on the markets of Russia and neighboring CIS (former USSR) countries, including Ukraine, Kazakhstan, Belarus, Lithuania, Latvia, Estonia, Armenia, Moldova, Azerbaijan, and Central Asian countries. At Kino Expo, the local offices of major studios, Russian and international independent distribution and production companies present their upcoming films and product reels directly to local exhibitors.

The XPAND Infinity 3D glasses provide up to 38% transparency and a 3000:1 contrast ratio. The glasses’ lightweight ergonomic designs ensure long-wearing comfort, and their wide 3D viewing angle provides an optimal 3D image across the entire cinema. All new XPAND cinema systems and glasses fully support HFR (High Frame Rate) double and single flash at 96fps, 120fps, 144fps, 192fps, 240fps and even variable fps.

“XPAND 3D offers more than the best 3D experience in the world; we enable filmmakers to truly realize their artistic visions, while providing viewers the ability to see 3D as it is meant to be seen,” said Maria Costeira, CEO of XPAND 3D. “At Kino Expo 2012, where some of the world’s most talented artists intersect with the heart of the Russian/CIS film community, XPAND 3D is the only option!”

“As one of the most prestigious cinema conventions in the world, it is imperative that Kino Expo offers cutting-edge cinema technology for its screenings,” said Dmitri Kazuto of Kino Expo. “With the XPAND Infinity glasses, we know our guests are enjoying that unmatched level of quality.”

“XPAND offers the highest-quality cinema 3D in the world and Kino Expo is one of the highest-profile opportunities to showcase this world-class quality,” said Katerina Agapova of NEVAFILM. “We are thrilled to once again be able to provide XPAND 3D cinema systems for Kino Expo.”

XPAND 3D is also the official partner of the Cannes Film Festival and the Venice Film Festival, and is used for the biggest 3D premieres around the world.

For more information on XPAND, please visit www.xpand.me

About XPAND 3D:
XPAND 3D is the global leader in 3D technologies for cinema, with systems used by over 5,000 3D cinemas in more than 50 countries. XPAND 3D is also the 3D solution of choice for home, business, post-production, education, military, medical and professional 3D applications. XPAND 3D designs, manufactures and OEMs a range of consumer electronics 3D solutions that are driving the 3D revolution. XPAND is committed to advancing the state-of-the art in technology to provide consumers, businesses, educators and medical professionals with the comprehensive advantages of stereoscopic 3D. XPAND provides glasses on a linear scale from the most advanced and feature-packed for sophisticated surgical, training and home theater to more ruggedized and affordable for cinema and mass market use. X6D Limited is a global company whose products and services are marketed under the XPAND brand name.

IBC Preview: Social media interaction, rendering innovations, flexible video management and new mapping capabilities among highlights for Vizrt

At IBC 2012, Vizrt Ltd will exhibit in Hall 7, Booth A10 September 7-11th at the RAI Exhibition and Congress Centre in Amsterdam. Vizrt will introduce several new innovations and demonstrate a cohesive approach to social media interaction.

Empower your audience

Integrations with Twitter, Facebook and Youtube will be shown with Viz Virtual Studio in Vizrt’s public show at the booth, with Viz Ticker3D for the design of creative tickers, with Vizrt’s character generator Viz Trio, and with Viz Multichannel for channel branding. Also new at IBC will be a Vizrt Skype interface which provides tools for the newsroom and production staff to interface with Skype calls directly from newsroom systems, Viz Trio and Viz Content Pilot.

The Vizrt public show will include second screen integrations that demonstrate how the audience at home can interact with a broadcast on their mobile device.

Further interaction with the audience through social media will be on full display on several multi-touch screens throughout the booth. Interactively control and display feeds coming from twitter or see historical trending topics and how they relate to geographic locations.

Flexibility and IP streaming

Vizrt’s real-time 3D compositing engine, Viz Engine is receiving a major update to its capabilities in the form of IP streaming. The Viz Engine now has the capabilities to take streaming content in and out, adding flexibility to the engine’s configuration in the station environment since only a network connection is needed. The Viz Engine renders real-time content and outputs the IP stream so the video can then be easily distributed to the web and mobile devices.

Viz Engine is being updated further with DVS SpycerBox integration. SpycerBox makes it possible for up to 8 Viz Engines to play out full broadcast quality HD video clips from a single shared storage.

Control the action

A new plugin for the Viz Engine gives users the ability to trigger clips in a EVS instant replay system. The plugin allows designers to create interactive scenes and send commands to the EVS system. This allows operators during a live sport event control of the EVS and all graphics from a single interface.

A gateway to all your content

The Viz Media Engine, Vizrt’s file-based video solution, can be a full media asset management (MAM) or act as a gateway to existing MAM solutions. As a gateway, the editorial staff can search for all their assets through the Viz Media Engine interface in their Newsroom Control system. The Viz Media Engine recognizes all the content stored in existing MAM systems and retrieves that content through search results. This allows the editorial staff to have access to all video content and graphics in a single interface to distribute on-air, online and mobile devices.

Vizrt’s file-based video workflow solution is fully scalable allowing for multiple Viz Media Engine server installations. Search content and replicate media from multiple geographic locations, giving the editorial staffs in the hub and satellite offices of large station groups access to all their content.

Branding video content is an important part of station identification, especially as that video content is now being distributed to many locations – on-air, online and mobile devices. During the transcoding process for multiplatform delivery, the Viz Media Engine performs automatic graphic insertion. Logos, ads and other graphics are adjusted based upon preset designs for the final screen resolution ensuring your brand remains intact and the graphics are always of the highest quality.

Cost-effective broadcast live video recorder for SDI acquisition

Viz Video Engine, Vizrt’s broadcast live video recorder for SDI acquisition, has been completely redesigned for the HD broadcast world. The recorder is controlled and managed by the Viz Media Engine. A single chassis handles four channels of ingest and playout, each capable of recording files from an extensive selection of HD and SD broadcast video formats. All video is wrapped in the MXF format, stored locally and made accessible through an FTP interface. Files are automatically moved and transcoded to centrally managed storage by Viz Media Engine. This means assets can be searched, previewed and edited from Viz Media Engine – even while recording is still ongoing. Once recording completes, Viz Media Engine automatically deletes unwanted media.

Access to the world

Vizrt has partnered with DigitalGlobe to provide a low-cost streaming imagery service to Viz World. This service, DigitalGlobe Online, gives customers full access to DigitalGlobe’s vast imagery database. When combined with Viz World, producers can create real-time 3D maps with high-resolution satellite and aerial imagery for anywhere in the world. With the FirstLook option, the latest satellite imagery from hotspots around the world are available for purchase within hours of the imagery being taken.

Viz World is being further enhanced with the introduction of OpenStreetMap data. Don’t be limited to street level maps in just your city. With the OpenStreetMap data the map designer has access to a global database of street level data that can be easily installed and searched by address or point of interest. OpenStreetMap is a vector based data solution allowing the maps from Viz World to be easily scaled for distribution to all platforms.

IBC 2012 will also showcase innovations in sports analysis and 3D sports coverage as well as the full Vizrt suite of broadcast graphics tools. Creativity, efficiency and innovation across all platforms will drive Vizrt at IBC. Contact us today to set an appointment.

About Vizrt:

Vizrt offers a new vision for content creation and delivery with an end-to-end solution from ingest to visualization. Our solution combines Vizrt’s true 2D/3D graphics tools with Curious Software’s World Maps and Ardendo’s Asset Management. Running on non proprietary software, the combination of these unique cutting edge products ensures a seamless workflow from conception to multi-format distribution.

Vizrt’s product suite is used by the world’s leading broadcasters including: CNN, CBS, Fox, BBC, Sky, ITN, ZDF, Star TV, TV Today, CCTV and NHK. Also, many world-class production houses and corporate institutions, including both the New York and London Stock Exchanges, utilize Vizrt solutions.

Vizrt is a public company traded on the Oslo Main List: VIZ, ISIN: IL0010838154. For further information please refer to www.vizrt.com

Martin Burkhalter / CEO / +41 22 365 75 01 / MBurkhalter@vizrt.com

Ofra Brown / CFO / +47 5351 8040 / OBrown@vizrt.com

Håvard Myklebust / EVP Products & Marketing / +4791845602 / HMyklebust@vizrt.com

Christie Takes Visual Display Technology Into New Dimensions at SIGGRAPH 2012 With 3D HoloStation

Christie’s Presence Felt “Virtually Everywhere” Throughout Event With Wide Range of Display Solutions.

Christie® is “virtually everywhere” at SIGGRAPH 2012 and, as a Platinum Sponsor of the conference, is confirming its leadership in 3D projection technology with a wide range of products and visual display solutions that support dealers, content providers, and partners in visualization, post-production, exhibition, and immersive technologies throughout the show.

Christie innovations are in full-force at its booth #1123, where it is showcasing its latest solution, the Christie HoloStation, a personal visualization system that displays up to 15 Megapixels of data in a 3D stereoscopic and interactive tracked environment in a compact, 6 feet by 6 feet footprint. It is driven by an NVIDIA® Quadro® Plex scalable visualization solution, external graphics processing designed for large-scale 3D visualization. Easy to deploy, the Christie HoloStation is self-contained, affordable and easy to use. It is ideal for applications such as car and aircraft design development and architectural walk-throughs, as well as for use as a 3D virtual trainer.

The Christie HoloStation at SIGGRAPH.

“The Christie HoloStation is an exciting visual solution that provides the functionalities of a Christie CAVE, but in a scaled down, innovative personal immersive environment. It’s high-fidelity visualization where you need it,” noted Zoran Veselic, vice president, Visual Environments, Christie. “Most important of all, it is easily deployed, so that it can be set up in nearly any cubicle in any facility. It is the perfect solution for bringing visualization to collaborative office spaces, the production floor in factories and in engineering department laboratories.”

The Christie booth will also display the innovative Christie Personal Immersive Environment (PIE) concept, composed of a three-panel arrangement of Christie FHD551-X LCD flat panels in portrait mode with a roughly 90-degree Field of View (FOV). With 3D content from WorldViz, an industry leader in interactive virtual reality solutions, the Christie PIE will use an intuitive 3Dconnexion controller that offers six degrees of freedom to allow users to virtually “fly” through a piazza. Flat panels can be added to the system to increase the FOV to as much as 320 degrees, maintaining an 8 by 8 maximum footprint, taking the gaming experience to a whole new level.

Christie will also be moderating the highly anticipated Production Sessions Panel, “High Frame Rate Cinema, Impacts on Art and Technology,” on August 8. The panel, moderated by Christie’s Dr. Paul Salvini, will feature 10 Hollywood visionaries such as Jon Landau, Douglas Trumbull and Dennis Muren, addressing the challenges to the post-production and exhibition communities. The Christie CP2230 DLP Cinema® projector used for the panel will show a variety of cinema content from leading studios and post-production houses, comparing 24, 48 and 60 frames per second.

The Christie CP2230, upgradable to 4K technology, is capable of lighting up screens up to 100 feet wide. Whether it is visual effects for TV and live-action film music videos, TV and web commercials, visualization and simulation content, or 3D feature films from Hollywood, Christie digital cinema projectors deliver accurate, razor-sharp, high-resolution images.

Platinum Sponsor Christie “Virtually Everywhere” At SIGGRAPH
SIGGRAPH attendees will find Christie display solutions throughout the main conference. From Christie’s DLP Cinema® projectors taking “center stage” in the Electronics Theater, where feature films will be shown in RealD 3D technology, to Christie’s 55-inch HD LCD flat panels to help attendees find their way around the show floor, to support for the conference production sessions with models such as the award-winning Christie HD10K-M 3-chip DLP® digital projector, with built-in warping, blending, color matching and portrait capabilities.

Among Christie partners at SIGGRAPH, the NVIDIA® booth will show content on a flexible, efficient Christie Mirage WU12K-M 3-chip DLP®, WUXGA projector with dual image processing capabilities and three modes of 3D presentation.

“Christie was the first licensee to market DLP Cinema® technology, and we have never looked back,” noted Dr. Paul Salvini, CTO, Christie. “We continue to help set the standards in 3D digital technology, in visualization and simulation, and we remain a pioneer of new technologies, such as 3D HFR, which is poised to revolutionize post-production and the exhibition industries.”

Visit Christie at Booth #1123.

Ventuz Technology Continues to Build Momentum in the Broadcast Market

a href=”http://blog.svconline.com/briefingroom/wp-content/uploads/2012/07/ventuz.jpg”>Ventuz Technology, provider of high-end interactive graphics software technologies for advanced 2D/3D real-time broadcast graphic and innovative interactive in-studio applications continues to build momentum worldwide for its software solutions.

Used throughout the broadcast, live presentation and digital signage markets, the Ventuz software suite is considered one of the most innovative solutions available today. It specifically addresses the challenges creative agencies are facing in keeping up with the technological and presentation needs of customers as well as helping broadcasters produce, manage and deliver high-end 2D / 3D on-air and in-studio graphics efficiently and economically. Regardless of the application, the openness of the Ventuz software allows for a variety of external control capabilities, such as multi-touch functionality enabling communication with any input device connected to a standard Windows PC.

Its easy to use authoring and animation environment offers an open framework of building blocks, which means users not only have a complete toolset for creating compelling content, but it also supports seamless integration with 3rd party applications. The unsurpassed flexibility of the Ventuz 3D engine provides unique possibilities to utilize designs for both broadcast on-air graphics and interactive in-studio applications.

The growing customer-base of Ventuz Technology speaks to the increasing awareness of this state-of-the-art software suite:

Broadcasters using Ventuz software for Television Programs:
• FOX USA: Next Generation FoxBox
Ventuz software drives all live sporting event clock and score graphics for Fox Sports Net (FSN) nationwide broadcasting of all major sports leagues and events.

• Who wants to be a Millionaire?
The British company Cat&Mouse, service provider for game show graphics and control, has used Ventuz for virtually all of their productions. Among their shows are renowned formats, such as Who wants to be a Millionaire, Power of 10, and Million Pound Drop.

• Political Programs
Ventuz software powered a touchscreen for the interactive TV presentation of graphs and analysis charts of coverage of several election broadcasts by WDR in Germany.

• Broadcast Sports
Swedish TV network Kanal 75 switched over to Ventuz software as its 3D graphics engine and character generator for live horse racing coverage in its off-track betting centers.

• TTR World Snowboard Tour:
Rayd and E.I.M. Solutions created a full sports on-air graphics and live-display solution with Ventuz software for the Ticket To Ride World Snowboard Tour.

Ventuz provides a powerful environment for the creation of 3D graphics regardless of how complex the on-air or presentation graphics requirements are. Its intuitive toolset offers real productivity & operational enhancements, a vast number of 2D and 3D design and text effects, as well as real-time 3D rendering. Ventuz is a versatile solution for creating rich and engaging content and designs efficiently and without being limited by the technology.

About Ventuz Technology:
Ventuz Technology offers hardware-agnostic, resolution-independent 2D/3D real-time software and technology for graphics design, authoring, and control of non-linear animation and interactive 2D/3D presentations, 3D rendering, as well as video wall and multi-display presentations.

Ventuz Broadcast:
Ventuz Technology’s Broadcast edition addresses on-air and in-studio broadcast applications, post production motion graphics and 2D/3D workflows. As a field-proven real-time graphics solutions, global broadcast stations currently utilize Ventuz for the 2D/3D authoring and graphic playback of sportscasts, second screen connected TV applications, and in-studio presentations.

Ventuz Pro:
Advertising agencies and the live events industry utilize Ventuz Professional edition for creating, staging and lighting large-scale multimedia client presentations and fully interactive product launches. Digital signage content designers use Ventuz software tools for the creation and display (including touch-screen) for POS. Regardless of the application, customers including Microsoft, Audi, Adidas, Avid, XBOX, D:SF, Skoda, and Porsche use Ventuz technology for unlimited creativity for real-time 3D design, authoring and presentation.

For more information about VENTUZ Technology’s products & services please visit: http://ventuz.com. For USA sales, please contact catrin.beck@ventuz.com.

View the Ventuz YouTube Channel for application examples: http://www.youtube.com/playlist?list=PL47C04DEBB7C43967&feature=plcp

Substance Meets Style With XPAND 3D at Sarajevo Film Festival

Combining the highest-quality 3D technology with stylish appearance for one of the world’s most prestigious film festivals of the year, XPAND 3D glasses were used for a technical 3D presentation at the 18th Sarajevo Film Festival, which took place June 6-14.

Founded in 1995 with the intention of providing a sense of normalcy to the residents of the war-torn city in Bosnia and Herzegovina, the Sarajevo Film Festival has grown into one of the biggest film festivals in the world, drawing the most successful regional artists and international stars alike. This year’s festival drew approximately 100,000 attendees and featured 210 films from 57 countries. Nine feature films from Bosnia, Serbia, Macedonia, Turkey, Austria and Romania were entered in competition for the festival’s Heart of Sarajevo award.

The festival included a technical presentation, hosted by XPAND partner dcinex at the Meeting Point Cinema in Sarajevo, which discussed the present state and future of 3D technology. For the event, XPAND supplied 200 of its Infinity active 3D glasses.

The Infinity 3D glasses provide up to 38% transparency and a 3000:1 contrast ratio. The glasses’ lightweight ergonomic designs ensure long-wearing comfort, and their wide 3D viewing angle provides an optimal 3D image across the entire cinema. All new XPAND cinema systems and glasses fully support HFR (High Frame Rate) double and single flash at 96fps, 120fps, 144fps, 192fps, 240fps and even variable fps.

XPAND 3D is also the official partner of the Cannes Film Festival and the Venice Film Festival, and is used for the biggest 3D premieres around the world.

“The enduring success of the Sarajevo Film Festival and its development into one of the world’s most prestigious festivals is a source of tremendous joy for everyone here at XPAND 3D,” said Maria Costeira, CEO of XPAND 3D. “We are of course honored to provide our 3D cinema glasses for the event and continue to spread the word that XPAND 3D offers the best 3D experience, whether it’s at the Sarajevo Film Festival or in your home!”

For more information on dcinex, please visit www.dcinex.com

For more information on XPAND 3D, please visit www.xpand.me

Ingenuity Engine and Katy Perry are “Wide Awake” for 3D Music Video

Visual Effects Studio Teams with DNA and Panasonic to Create Dream World

Photo credit: Capitol Records©

(Los Angeles) Ingenuity Engine – an artist driven and owned visual effects studio – completed extensive work on the 3D music video for “Wide Awake,” which was written for the 3D “Katy Perry: Part of Me” film which opened on July 5. The video was directed by Tony T. Datis of production company DNA.

Ingenuity Engine delivered a wide range of shots in both 2D and 3D for the elaborate fantasy video that takes Perry on a journey through her imagination. “Wide Awake” begins with Perry completing the video for “California Gurls.” When she gets back to her dressing room, she falls into another world. In that magical place, she meets a younger version of herself, and the two face obstacles together while they make their way through an elaborate 3D labyrinth.

“All of the visuals we created for “Wide Awake” had to start as 3D elements,” explains David Lebensfeld, Ingenuity Engine creative director. “With fast-paced music videos like this, we generally use a lot of 2D elements and spend most of our time in compositing, but for “Wide Awake” all of the smoke, particle effects, and matte paintings had to be created in 3D and rendered for both eyes, which required significantly more work in the same tight schedule.”

Ingenuity Engine delivered over 140 shots in less than three weeks, including matte paintings, set extensions, various smoke, fog, fireworks and sparks effects, as well as CG elements, including a flock of CG butterflies that fly off Perry’s dress.

“To create the flock we modeled several unique butterflies, using reference photography taken on set,” says Lebensfeld. “Then these individual butterflies were rigged and animated with an initial flight cycle, which was augmented in a particle system to give each butterfly its own unique animation and flight path. Hero foreground butterflies were hand animated to facilitate the transition to the next scene and to take advantage of the depth we were working with in 3D.”

Compositing for “Wide Awake” was done in The Foundry’s NUKE and NUKEX, and tracking was completed in Andersson Technologies’ SynthEyes(tm). The CG was created in Autodesk(r) 3ds Max(r) along with Sitni Sati’s Fume and Thinkbox Software’s Krakatoa(tm).

“We are lucky to have a long history with DNA. Working closely with Tony and the DNA team allowed us to visualize and then execute the look they imagined,” adds Grant Miller, Ingenuity Engine creative director. “Because of the fast-paced nature of the music video industry, speed is essential. We are very proud that we were not only able to deliver this caliber and quantity of work with a very tight post schedule, but in stereo as well. There is talk that “Wide Awake” is going to set the benchmark for 3D music videos, and I think they’re setting that bar really high.”

The video is currently airing worldwide and can be seen at http://www.katyperry.com. Panasonic will showcase the 3D version of “Wide Awake” at consumer electronics trade shows, including IFA in Berlin as well in stores with Panasonic VIERA TVs on display around the world starting this fall.

Credits:
Artist: Katy Perry
Song: “Wide Awake”
Label: Capitol Records
Video Commissioner: Danny Lockwood
Director: Tony T Datis
Production Company: DNA
Producer: Dawn Rose and Danny Lockwood
Director of Photography: Stéphane Vallé
Stereographer: Glen Macpherson
Consultant for Panasonic: Ray Hannisian
Production Designer: Benjamin Bamps
Editor: Jarrett Fijal at Bonch
Telecine: Company 3
Colorist: Dave Hussey
Visual Effects: Ingenuity Engine
Creative Directors: Grant Miller and David Lebensfeld
VFX Producer: Oliver Taylor
Executive Producer: Matthew Poliquin
Lead Compositor: Nicholas Sorenson
Compositor: Nicholas Daniels
Lead CG Artist: John Martini
Lighting TD: Ryan Lathey

You can find more about Ingenuity Engine at www.ievfx.com, on Facebook (www.facebook.com/ingenuityengine) or on Twitter (https://twitter.com/IEVFX).

# # #

Media Contacts:
Sally Christgau, sally@ignite.bz
415.238.2254

Sky News Expands Vizrt’s Role in Creation of Live, Data-Driven Graphics for Daily Business News Updates

To ensure that viewers have the most current business news, Sky News has expanded its use of Vizrt’s Viz Content Pilot to create real-time, data-driven graphics for its “Business Bulletins,” presented at regular intervals throughout the 24-hour news day.

While Sky News has been using Viz Content Pilot template-based graphics and video management system and the Viz Artist design workstation to create full-frame graphics and 3D animations for some time, in May 2012 the network began using Content Pilot and Artist to embellish its Business Bulletins with full-screen graphics, side panels (for HD viewers), lower third supers and scrolling tickers that contain financial data updated in real-time.

“The design focus at Sky News is to provide our viewers with a wealth of timely information in an attractive, structured and understandable format,” said Brent Jones, head of 3D/VFX for Sky News in Isleworth, Middlesex, UK. Considered one of the world’s premiere breaking news networks, Sky News delivers international news to roughly 103 million homes in 115 countries worldwide.

Viz Content Pilot automatically requests specific data sets and then puts that data into designated fields within the templates. The templates can even update while they’re live on air. “Content Pilot is a straight-forward addition to our broadcast infrastructure,” Jones continued. “Its flexibility allows us to create a fully bespoke template system based on the requirements of our business team. The team can now respond to breaking news and illustrate financial stories as they happen—confident we’re always showing viewers the most up-to-date information.”

At Sky News, Viz Content Pilot is part of an integrated graphics workflow that was first installed in 2006 including: Viz Artist, VizWeather for live weather presentations, and Viz World to create interactive, 3D animated maps for broadcast and static 2D maps for its online and iPad news services. Viz Content Pilot was chosen because of its ability to integrate with the other Vizrt systems, including the Viz Engine realtime HD/SD rendering engines, and the ability to provide a fully customized producer interface.

“Increased investment in Viz Content Pilot and newsroom integration has enabled us to provide our entire business news team with user-friendly interfaces,” said Jones. “From the comfort of their own desks, our producers and journalists can quickly and easily create, modify, and then save their graphics directly into the rundown.

“The ability for several producers to access the templates simultaneously and the removal of the commissioning process has greatly improved the efficiency and delivery of our live graphics as well as our updates.” An in-house design team at Sky News creates all the graphics designs, develops control interfaces, and integrates the graphics systems.

“We’re delighted that this prestigious international news network has placed its confidence in our live, template-based graphics workflow,” said Petter Ole Jakobsen, chief technical officer for Vizrt. “Viz Content Pilot saves broadcasters the time and expense of continually redesigning live graphics for air. Sky News takes great pride in its on-air branding and regularly refreshes its graphics workflow to offer the most appealing and current on-air presentations possible. We look forward to furthering our relationship with Sky News and supporting their efforts.”

About Vizrt:

Vizrt offers a new vision for content creation and delivery with an end-to-end solution from ingest to visualization. Our solution combines Vizrt’s true 2D/3D graphics tools with Curious Software’s World Maps and Ardendo’s Asset Management. Running on non-proprietary software, the combination of these unique cutting edge products ensures a seamless workflow from conception to multi-format distribution.

Vizrt’s product suite is used by the world’s leading broadcasters including: CNN, CBS, Fox, BBC, Sky, ITN, ZDF, Star TV, TV Today, CCTV and NHK. Also, many world-class production houses and corporate institutions, including both the New York and London Stock Exchanges, utilize Vizrt solutions.

Vizrt is a public company traded on the Oslo Main List: VIZ, ISIN: IL0010838154. For further information please refer to www.vizrt.com

Martin Burkhalter / CEO / +41 22 365 75 01 / MBurkhalter@vizrt.com

Ofra Brown / CFO / +47 5351 8040 / OBrown@vizrt.com

Håvard Myklebust / Executive VP Products and Marketing / +4791845602
HMyklebust@vizrt.com

Christie Hosts High Frame Rate Expert Panel at SIGGRAPH 2012 Featuring Douglas Trumbull, Dennis Muren

As the Platinum Sponsor of SIGGRAPH 2012, Christie®, the first in the world to publically demonstrate 3D High Frame Rate (HFR) projection technology using a single projector, is proud to host the SIGGRAPH HFR Panel, “High Frame Rate Cinema, Impacts on Art and Technology,” to be held Wednesday, August, 8 at 10:45 a.m., at the Los Angeles Convention Center, Hall K. The panel will feature 10 cinema industry leaders, led by Gordon E. Sawyer Academy Award winner Douglas Trumbull and Dennis Muren, Senior Visual Effects Supervisor at Industrial Light & Magic. It will be moderated by Paul Salvini, chief technology officer (CTO) of Christie. SIGGRAPH 2012 will be staged August 5 – 9. (In late breaking news, Jon Landau, Academy Award-winning producer of “Avatar” and “Titanic” has confirmed his participation in the HFR panel.)

Filmmaker and Visual Effects legend Douglas Trumbull’s photographic effects credits include groundbreaking films such as “2001: A Space Odyssey,” “Close Encounters of the Third Kind,” “Blade Runner,” and “The Tree of Life.” Douglas Trumbull pioneered work on High Frame Rate cinematography and projection with his Showscan process of 70mm film photographed and projected at 60 fps, and is now exploring 3D at 120 fps. Dennis Muren is the recipient of eight Academy Awards for Best Achievement in Visual Effects, with credits that include “Star Wars” and “Terminator 2: Judgment Day.”

“The SIGGRAPH HFR panel will explore the technology behind high-frame-rate cinema, and look at what it will mean to producers of content and to the audience experience,” noted Paul Salvini. “The panelists are pioneers in their fields, addressing the challenges of HFR across the entire workflow, to provide the post-production and visual effects communities with important guidance regarding the challenges and rewards of developing HFR content for the exhibition community.”

Additional panelists include:

Jim Beshears, Head of Post-production at DreamWorks Animation SKG Inc., oversees all aspects of the studio’s self-contained editorial and post-production facilities. Jim has been instrumental in creating a solid support system capable of simultaneously managing multiple feature-length animated projects and multiple short projects.

Matthew Cowan, co-founder of Entertainment Technology Consultants and currently Chief Scientific Officer at RealD, of California, developed RealD’s successful 3D cinema system and is respected in the post-production community for his knowledge and application of human perception to 3D systems, color, and transfer functions in digital cinema.

Darin Grant, Chief Technology Officer, Digital Domain Media Group, is responsible for the overall technology strategy for the company and its many subsidiaries. He is the former head of production technology at DreamWorks Animation.

John Helliker is Founder/Director of Sheridan College’s SIRT Centre, a research and training facility focused on digital workflow innovations including HFR and virtual production. Based at Pinewood Toronto Studios, SIRT’s leading edge work is based on a unique set of partnerships with major industry guilds and associations, individual companies, as well as government and academia.

Luke Moore, Director of Special Projects at Canada’s Side Effects Software, in Toronto, is responsible for identifying and addressing the unique technical challenges faced by studios using the popular Houdini VFX and Animation software. Luke brings first-hand knowledge and anecdotes regarding challenges of managing large datasets necessary to enable higher temporal and physical resolution to meet the needs of new challenges in modern production environments.

Phil Oatley is Head of Technology at New Zealand-based Park Road Post Production, where his visionary talents have guided the company through incredible growth, including establishing key partnerships to promote HFR research and development.

Dr. Lincoln Wallen, Head of Research and Development at Dreamworks Animation, in California, and formerly CTO at Electronic Arts Mobile, where he was instrumental in shaping EA’s approach to the mobile business, creating a strong portfolio of mass market mobile games, as well as games delivering a next-generation consumer experience.

“As the first licensee to market digital cinema projection based on Texas Instruments’ revolutionary DLP Cinema® technology, Christie has remained an industry leader, helping the post-production and exhibition communities with the latest-generation products, service, and technical expertise,” noted Paul Salvini. “We are proud to moderate this panel, which brings together true industry visionaries to discuss HFR, the next phase of the digital cinema revolution.”

Salvini added: “Christie continues to forge alliances in Hollywood with powerful proponents of HFR such as James Cameron, as well as partnering with leading post-production facilities such as Park Road Post Production and Weta Digital Ltd., to ensure a seamless transition to HFR and a superior movie-viewing experience.”

Among the movies on the horizon to feature HFR is the sequel to James Cameron’s “Avatar,” as well as Peter Jackson’s “The Hobbit,“ both of which will also be presented in stereoscopic 3D.

Salvini noted that Christie recently affirmed its HFR leadership with the world’s first and only single-manufacturer DLP Cinema projector and Integrated Media Block (IMB) combination that meets the DCI specifications in both the 2K and 4K mode of operation. It’s the best combination for producing the brightest and sharpest image and the most reliable HFR solution.

“Christie has earned a solid reputation for accelerating innovations in digital projection technology that includes the first to market a fully stereoscopic 3D DLP projector, in addition to providing leadership in the development and implementation of visualization and immersive technologies,” said Salvini.

To register for the conference, visit SIGGRAPH 2012. Also visit Christie at SIGGRAPH 2012 Booth #1123.

XPAND EDUX3 3D Glasses Launch to the Head of the Class at ISTE 2012

The new EDUX3 3D Glasses are compatible with any DLP® 3D-ready projector or television.

SAN DIEGO, California – At ISTE 2012, XPAND 3D’s new EDUX3 3D Glasses are being used at multiple exhibitor booths. Partners include Dell (#3013), Cyber Anatomy (#5625), Lumens (Ladibug Document Cameras) (#4907), Texas Instruments (#3437), Designmate (#3723) and Panasonic (#4601).

“The XPAND EDUX3 3D Glasses are ideal for use in any classroom, lecture hall, auditorium and anywhere else where 3D material is presented in an educational environment. 3D allows teachers to engage and reach their students with remarkable depth,” noted Jodi Szuter, Sales Manager, Education Channel, XPAND 3D. “We’ve listened to all of the teacher feedback regarding 3D glasses and came up with the most reliable, best range, and durable glass for the market. Our glasses are compatible with a wide range of 3D display devices, making them an easy and cost-effective solution for the education market.”

XPAND EDUX3 3D Glasses feature the fastest active-shutter technology on the market for the best and the brightest 3D images available. Their Extended White-Light Range capability gives them the longest viewing distance in the industry. EDUX3 3D Glasses work without any installation—simply turn them on to view 3D content.

The XPAND EDUX3 3D Glasses offer a variety of features that make them ideal for education environments, including:

• Durability – Built from rugged plastic with flex points that extend the lifetime of the glasses
• Lightweight
• Comfort – Come with additional nose pieces to fit children’s faces better
• Use standard over the counter CR2032 batteries – for easy battery replacement with an average of 100 hours of battery life
• Turn on and off with one simple button
• Folding arms
• Lighter, brighter lenses
• Can be kept clean using XPAND 3D X-Wipes and protected with XPAND’s carrying case that holds 30 pair of glasses.

“Studies have shown that using 3D material in the classroom can improve students’ retention rates when learning new material and can also result in higher test scores,” Szuter noted. “Students are more engaged and involved when they view 3D content. 3D isn’t just for entertainment—it’s also an extremely valuable educational tool, especially with complex concepts.”

Jodi Szuter will be giving presentations at the Dell booth (#3013) on Monday, June 25 and Tuesday, June 26 at 12:30-1 PM, 1:30-2 PM, and 4-4:30 PM; and on Wednesday, June 27 at 12:30-2:30 PM.

For more information on XPAND 3D, please visit www.xpand.me/education

About XPAND 3D:
XPAND 3D is the global leader in 3D technologies for cinema, with systems used by over 5,000 3D cinemas in more than 50 countries. XPAND 3D is also the 3D solution of choice for home, business, post-production, education, military, medical and professional 3D applications. XPAND 3D designs, manufactures and OEMs a range of consumer electronics 3D solutions that are driving the 3D revolution. XPAND is committed to advancing the state-of-the art in technology to provide consumers, businesses, educators and medical professionals with the comprehensive advantages of stereoscopic 3D. XPAND provides glasses on a linear scale from the most advanced and feature-packed for sophisticated surgical, training and home theater to more ruggedized and affordable for cinema and mass market use. X6D Limited is a global company whose products and services are marketed under the XPAND brand name.

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7thSense Design drives projection inside North Carolina’s ‘Daily Planet’

Four Delta Media Servers used to supply immersive audio and video to new Nature Research Center

Demonstrating its ability to customise its Delta media-server product to match the image-manipulation of show-control needs of demanding environments, 7thSense has supplied core technology to the Daily Planet – an immersive dome experience opened this week by the North Carolina Museum of Natural Sciences in Raleigh, NC.

An 80,000-square foot extension to the Museum the Nature Research Center (NRC) has been designed to bring research scientists and their work into the public eye. The Museum hopes that it will demystify research and inspire a new generation of scientists to follow in the footsteps of those whose work it showcases.

The centrepiece of the NRC – both physically and conceptually – is the SECU Daily Planet, a hemispherical dome that uses multimedia technology to link the virtual and natural worlds together. At regular intervals during the day, scientists will use the 40ft high, high-definition curved screen of the dome to present their latest research and its impact on current issues. This marks something of a departure from the majority of domed environments intended for consumer presentations, where the content follows a pre-arranged pattern that does not vary from day to day.

“The system design is unique,” confirms Ian Macpherson, Director, 7thSense. “We supplied a single Delta server to drive all six of the Christie projectors for the main display wall, with 2K x 2K uncompressed media resolution and real-time warp-and-blend to make a single, continuous canvas. A second Delta server then feeds another timeline into the live inputs of the first one. This allows the show-control system to drop media in real time onto this server as Timeline B, while Timeline A is playing the primary Delta.

“In effect, this means that both Delta servers can be re-programmed on the fly while the audience is watching the show, depending on the needs of the NRC and without any of the operators requiring any show-programming expertise.”

A seamless transition between the two timelines, known internally as Ambient Mode, is ensured by the provision of luma-key transition movies created by batwin+robin productions – which was responsible for the creative concept and content execution at the Daily Planet. 7thSense worked closely with b+r throughout, with AV systems contractor Electrosonic and show-control provider Smart Monkeys also playing pivotal roles in the realisation of the project.

As well as Ambient Mode, NRC staff can select other modes from the Smart Monkeys GUI which allows a choice of different mixes of live presentation windows and backgrounds. This allows a flexible use of the display system, moving from randomised playback to a more interactive experience.

Another unusual aspect of the Daily Planet is that its screen can be viewed from any one of three floors within the dome. The creative and technology teams have used this to their advantage, adding four Barco movable video projectors which move around the thin bands between the floors at the rear of the space, creating a composite video and lighting projection that extends way off the screen and onto other parts of the Planet’s architecture. Both Barco projectors are driven by a single Delta server , fully synchronised to the main show-control system.

“This exhibit pushes Delta very hard,” adds 7thSense’s Macpherson. “We have some 2,700 resources on our timeline, with additional real-time inserted media and up to four live captured inputs on-screen from various live presenters within the dome.

“The randomised and real-time inserted nature of the content means the Delta system has to provide seamless playback, even though it’s transitioning from one server to another, so that the ‘hidden’ server can be queued up for its next topic.

“There is a constant two-way communication between Delta and the Smart Monkeys show controller, and many new features were added to Delta specifically for this project.”

“The show programming was accomplished by 7thSense and Smart Monkeys over four weeks of intense on-site activity,” adds Gary Barnes Project Manager of Electrosonic. “In total the Delta servers are providing six channels of HD video and 16 channels of audio, together with time-accurate commands to trigger lighting and the selection of the next show.

“Since the Daily Planet opened, the systems have performed faultlessly, and we could not have asked for more conscientious and more creative partners than 7thSense Design. Between us we have created a unique experience, which combines the best of immersive multi-image technology with the freshness of a live and spontaneous theatre show. Seeing is believing!”

www.7thsensedesign.com

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