All posts by Igor Ridanovic

Holographic Television

Look ma, no glasses!

Holographic TV is under development at MIT and several other research labs worldwide. The goal of holographic TV is to provide depth-rich viewing experience that parallels real world experience without need for special glasses.

In other words, looking at a hologram is physically and physiologically equivalent to looking at a real life scene. Holograms can’t, at least not yet, make objects float in space like seen in SciFi movies. However, they can render a fully accurate sense of 3D depth that extends behind and in front of the screen.

Autostereoscopic Displays

3D without glasses.

Autosterescopic video displays do not require viewers to wear special eye wear. The challenge in designing autostereoscopic displays is to provide discreet left and right images to appropriate eyes while avoiding cross talk.

Some technologies like holographic TV are promising but are only at experimental stage. Lenticular displays are commercially available at this time but do not provide the full depth quality as their eye wear based counterparts.

Vergence/Accommodation Conflict

Can make head hurt.

Vergence/accommodation conflict is often quoted as one of the contributors to why some people experience discomfort when watching stereoscopic 3D (S3D) films or TV.

When we look at a nearby object in real life, we focus our eyes at it (accommodation) and we rotate our eyeballs inward to allow each eye’s gaze to cross at the object (vergence). Distinct groups of muscles are in charge of these two operations and typically work in unison.

However, when we watch an S3D film, we focus at the screen plane, but we may converge our eyes in front of or behind the screen. This decoupling of vergence and accomodation can contribute to eye muscle fatigue.

Interview With Stereographer Daniele Siragusano

The 2nd SMPTE Annual International Conference on Sterescopic 3D for Media and Entertainment took place in New York on 21st and 22nd of June 2011.

Over twenty researchers and engineers presented papers on topics ranging from stereoscopic 3D viewer comfort to advancements in holographic 3D.

Igor Ridanovic spoke to German stereographer Daniele Siragusano who presented his research on stereoscopic volume deformations at the SMPTE conference.

IR: Please tell me about the facility you work for and your recent stereoscopic 3D projects.

Daniele Siragusano at SMPTE conferenceDS: I work for Germany’s largest post production company CinePostproduction. Founded 100 years ago as Geyer film lab in Berlin today we offer the complete range of film processing, digital post production, workflows and on set services for digital and stereoscopic cinematography including DCPs and prints for theatrical release in Munich, Berlin, Hamburg and Cologne.

We did the post production for the first European animated stereoscopic 3D film Animals United. We did Stereo-sweetening for The Darkest Hour and the post production for a converted movie called Hybrid. Currently we are involved with the S3D sweetening of Vicky and the Treasure of Goods and we are doing sound mixing of The Three Musketeers at our sound studios in Munich.

We’ve done a lot of commercials and shorts as well although we’re not a commercial house. But production companies come to our facilities because we know how to do 3D. We’ve done shows for German car manufactures and two or three projects with universities.

IR: Your approach to stereoscopic post production combines rigorous testing which is not unlike that of the researchers who presented papers at the SMPTE stereoscopic conference, but you also have the advantage of working on live action material. Are your research findings ever at odds with what you see on the screen?

DS: Yeah, the good thing about my position is that I can do all the research and see the final product on the screen, and since stereoscopic perception is a cognitive process, you can do all the math and it will only explain one part of the whole story. But there are lots of cognitive processes as well and you can not really put them into numbers. It’s really important to understand both the theory and the real life results.

IR: Perhaps it’s fair to say the scientists who study the stereoscopic 3D are at disadvantage because they don’t get to work with live action material on large screens?

DS: One part of the scientific process is to isolate and explore one special subject and ignore the sum of all parts. When it all comes together in one image, one frame, many factors are added together. It’s important to have the research but you also have to experience the S3D.

IR: How much R&D do you put into each film project?

DS: Quite a lot. For every big show there is a lot of R&D going on. There is always something new.

For example, we had a show in which the director wanted to add grain because there was a film within the film plot. We started to experiment with grain in stereoscopic 3D. We put different grain in each eye but this was unfusable by the viewer. Then we added the same grain to both eyes, but this looked like a wall of grain in the 3D space. Finally, we converted the grain so it had the same depth as the object it occluded. The visual effect was that the surfaces were grainy.

We’re also digging into new ways of modifying stereoscopic characteristics and changing the depth of individual objects in the scene in order to support the storytelling.

IR: In a recent film you manipulated the vertical parallax in order to induce unpleasant sensation in the viewer. Do film directors typically understand the new tools that are at their disposal or do you find yourself in the position to educate them?

DS: We definitely consult with directors about the possibilities. For a lot of directors I work with it’s the first time they do stereo and they appreciate any help they can get. For the post production side of things we’re getting involved much, much earlier, even before the storyboarding. They come to us at the early stage of the production so we can show them what flexibility they have in post and what they should get right on set—what we can not fix in post.

IR: What’s the situation in EU and in Germany in particular regarding stereoscopic training for film and TV industry professionals?

DS: I am teaching a course at the University of Television and Film Munich and there are stereoscopic consultants who offer courses, but there could be more, it’s just the beginning. I work for several universities as a lecturer. They are starting doing R&D on the university side, but I think it will take two to three years until they really get this deep understanding of how to deal with real life S3D problems. But we get some educated people from the universities, who have the basic understanding of stereo.

Gary Busey to star in “Mansion of Blood”

Hollywood (May 6th 2011) – California based production company Elusive Entertainment in association with Welcome Home Productions and Dream Cinema Productions sign award winning stars for latest low budget indie horror movie “Mansion of Blood” starting production on May 11th 2011.

Award winning actor Gary Busey (Piranha 3D, Point Break, and Lethal Weapon), Oscar nominated actress Terry Moore (Mighty Joe Young, Beneath the 12 mile Reef), Pamela Bach-Hasselhoff (Baywatch, The Young and the Restless), Said Faraj (The Green Zone, Sinbad the Fifth Voyage), Sarah Alami (VH1’s Scream Queens 2), Sam Stone ( Disney’s Big Time Rush, Halloween Night) and the niece of Universal Pictures founder Carla Laemmle (Dracula, The Phantom of the Opera) all set to start filming “Mansion of Blood” in an exclusive location in West Covina, California.

Directed and written by Michael Donahue, “Mansion of Blood” is a grueling horror set in an abandoned haunted mansion built in 1912 which is renovated in 2012 by millionaire Mason Murphy. To celebrate his new home he hosts a lunar eclipse viewing party at the mansion, inviting everyone in the small town of River Ridge.

A witch casts a spell under the eclipse to visit with the spirit of her dead boyfriend, but the magic runs out of control due to the magically charged items in the house. Thrown outside of normal space and time, the guests are trapped at the mansion until the curse can be broken.

“I am so excited to be appearing in another horror movie.” – said Carla Laemmle. “I spoke the first line of dialogue ever in a horror movie which was “Dracula” in 1931 and I have the last line of dialogue in “Mansion of Blood” 80 years later.”

Horror fans will be in for a treat with “Mansion of Blood” as literally anything becomes possible as the guests fears and nightmares become reality. One by one they die in different ways, killed by accident, murder, monsters, and spirits.

Other independent feature films within the slate scheduled for 2011 release from the “Mansion of Blood” producers include “The Extra”, “The Visitor from Planet Omicron” and “Among Rugged Peaks: The Life Story of Carla Laemmle”.

For further information and on-set press interview dates contact:

Liz Rodriguez – Liz@EMRMedia.com – Phone: USA 310 435 3634

Bruno Munger Joins ALT Systems

Respected Product Manager Brings Workflow Expertise to Renowned Systems Integration Company

SUN VALLEY, Calif. (February 16, 2011) – ALT Systems, a full service systems integrator and workflow solutions provider, has appointed Bruno Munger as Director of Technical Sales. Munger will collaborate with ALT Systems’ customers to design workflow solutions, integrate cutting-edge hardware and software systems, and adapt technical infrastructures for the most demanding post production and visual effects work. His new position is effective immediately, as he joins his colleagues this week at the Hollywood Post Alliance (HPA) Tech Retreat in Rancho Mirage, Calif.

Bruno Munger, Director of Technical Sales, ALT Systems

“Bruno Munger possesses a rare combination of talents — inventive designer, business-savvy technologist, dynamic leader and passionate customer advocate,” says Jon Guess, president of ALT Systems. “Since ALT Systems was founded in 1995, we have been dedicated to offering expert advice, client support and training. Bruno brings a new skill set to our long-standing, solid business offerings, as well as elevates the growth potential of what we can offer current and future clients.”

Munger comes to ALT Systems with over 17 years of experience in the media and entertainment industry, with specialties in workflow design for file-based image capture, file-based image digital delivery, and 2D/3D digital intermediate. He has been involved in product management for industry-leading companies such as Digital Vision, Autodesk, MTI, and Snell & Wilcox.

With over 12 years in software development, Munger is probably best known for his work for Autodesk Lustre and Nucoda Film Master. He joined Autodesk in early 2003 and successfully helped the North American sales team significantly increase market share for Lustre. In 2005, he moved on to product management. As a member of the R&D team, Bruno was invaluable in helping the product grow from a handful of clients to an industry standard, working closely with customers as their digital intermediate offerings were taking form. In 2009, he joined Digital Vision to help expand their market share and transport the Nucoda product line to broadcast and episodic television.

“ALT Systems is one of the best-kept secrets in the industry, and a company poised for tremendous growth,” says Munger. “They have a solid reputation for offering the best solutions. I look forward to working closely with their outstanding team on building awareness and taking customer service to the next level. I believe that my extensive experience in meeting clients’ unique needs in a dynamic industry of emergent technologies will be an asset to me and the rest of the ALT Systems team. We will continue to give our customers a clear advantage when managing the evolving workflow challenges that face facilities in today’s digital environments. I look forward to solving the many technological and architectural challenges that will drive this marketplace far into the future.”

In his new role, Munger will work closely with facility engineers and managers, colorists, editors, and VFX supervisors to find workflow and systems solutions that manage today’s myriad of digital acquisition formats and post production requirements to position them for success in their field.

“As pre-production, pre viz, post production, and visual effects timelines and tools intermingle, there is a growing need in the production and post production community for experts to help plan the route and pave the way,” adds Munger. “Jon and the ALT Systems team have a phenomenal track record of supporting their customers. I am excited to help ALT Systems customers with answers, ideas, and creative solutions.”

About ALT Systems

ALT Systems Inc. is a Los Angeles-based systems integrator and workflow solutions provider, offering superior compositing, rendering, editing, color correction, digital intermediate (DI), 2D/3D, restoration, large format film recording, and SAN and NAS networking and storage options to the post production and visual effects industry. Founded in 1995 and privately owned, the company is a leading solution provider in the global entertainment and media marketplace. Key customers include Deluxe, Technicolor, CBS, Rhythm & Hues, Hydraulx, Tata Elxsi and IMAX.

The cornerstone of ALT Systems’ solutions is Autodesk’s Creative Finishing products. Over the past several years, ALT Systems has consistently been recognized as Autodesk’s top systems reseller in the Americas, delivering Flame, Smoke, Lustre and Flare to both large and boutique-sized facilities.

ALT systems also offers products from top manufacturers including Apple, Qlogic, AJA, Intel, Brocade, Cine-tal, Xyratex, HP, Rorke Data, Quantum, BlueArc, Bright Technologies, and DataDirect Networks, among others.

For more information, visit www.altsystems.com.

BON Monitors Available in the U.S.

DVEO Signs Agreement to Distribute Multi Function Color Accurate Studio Monitors from BON Electronics, Inc.

Professional Multi Function LCD Monitors for Broadcast, Quality Monitoring, Field Operations, and Video Editing are Now Shipping

San Diego, California — DVEO, the broadcast division of Computer Modules, Inc. (CMI), announced today that it has entered into a reseller agreement with BON Electronics, Inc., a manufacturer of multi format LCD broadcast monitors for master control, field, or studio use.

DVEO is now reselling BON Electronics’ exceptional line of professional-grade LCD monitors designed for broadcasters, video editors, and video animators. These monitors are full-featured with all requested options. BON Electronics offers a wide range of these monitors, including field monitors, quad input monitors, and EBU Class 1 and 2 studio monitors. The focus of EBU Class 1 monitors is quality assurance and video editing workstations at post production houses.

The monitors are available in sizes from five to 55 inches. Supported video inputs include analog (composite or component), DVI, VGA, HDMI (with HDCP) or dual channel HD/SD-SDI.
BON Electronics monitors feature color calibration software, selectable gamma modes, and selectable color spaces to match various broadcast standards. A dual display and split screen function with Freezing mode enables two input signals to be displayed side by side. Other useful features include waveform and vector scope display, focus assist, video range check, and an audio level meter.

“We are proud to recommend BON Electronics monitors to our customers,” said Laszlo Zoltan, Sales Manager for DVEO. “BON Electronics has been developing innovative studio monitors for almost 25 years. These are well-designed post production oriented monitors that display video and audio levels, color coordinates, and picture in a picture, or picture and a picture.”

“We are very pleased that DVEO has added our monitors to their extensive line of broadcast products,” commented Daniel Lim, Executive Director for BON Electronics, Inc. “We look forward to a very successful partnership.”

DVEO is a trademark of Computer Modules, Inc.
All other trademarks and registered trademarks are the properties of their respective owners.

For more information on CMI and DVEO, please contact Rebecca Gray at +1 (858) 613-1818 or rebecca@dveo.com. To download DVEO’s press releases and product images, visit the news section at http://www.dveo.com/.

Matrox HD Scan Converter with Genlock

Matrox Announces HD-SDI Scan Converter with Genlock and Region-of-Interest Support at $1495

Matrox Convert DVI Plus lets broadcasters easily and economically get Skype, YouTube, and mobile phone videos to air

Montreal, Canada – January 25, 2011 – Matrox® Video Products Group today announced Matrox Convert DVI Plus, an SD/HD SDI scan converter with high-end features priced at just $1495 US. Matrox Convert DVI Plus lets broadcasters easily and economically take the computer-based content that is quickly becoming a key part of the nightly news to air. It’s ideal for creating broadcast video from computer applications such as Skype, YouTube, Google Earth, video games, and web browser sessions, as well as citizen journalists’ mobile phone videos. Matrox Convert DVI Plus is also the perfect appliances to drive projectors and large displays at live events and in houses of worship.

“We stunned the market last year by offering the world’s first HD-SDI scan converter with genlock at just $995. Matrox Convert DVI was an award winner at both NAB and IBC and an immediate hit with broadcasters and A/V integrators in houses of worship,” said Alberto Cieri, Matrox senior director of sales and marketing. “For 2011 we’ve taken the product line a step further with Matrox Convert DVI Plus that features the most-requested enhancements including more comprehensive region-of-interest support and background color selection capability to facilitate downstream keying applications.”

Matrox Convert DVI Plus controls are provided via an intuitive PC-based graphical user interface which can include a live preview pane for scaling and positioning in context. By simply dragging a mouse, rather than fiddling with buttons on the unit itself, you can choose to output the entire screen or a region-of-interest of any size. Premium features such as a flicker reduction filter, customizable presets with user-assignable hotkeys, password protection, SD pixel aspect ratio compensation, and a stand-alone mode ensure optimal flexibility for many different applications.

Product Demonstration Webinar

Registration is now open for two identical sessions of the Matrox Convert DVI Plus webinar which will be held February 10. The webinar will include a comprehensive product demonstration and tips and tricks to help attendees make the most of computer-based content in broadcast and live event applications.


Key features of Matrox Convert DVI Plus

· DVI-D input up to 1920 x 1200

· Digital outputs: HD/SD SDI

· Analog outputs: HD/SD analog component, S-Video, and composite

· SD analog black burst (bi-level) or HD tri-level genlock with timing offset controls

· Simultaneous analog and digital video output

· Stereo audio input can be embedded into the SDI output signal

· Realtime hardware upscaling and downscaling with proper color space and aspect ratio conversion

· Region-of-interest support including scaling, positioning, and panning with realtime output update

· Background color selection including super black and super white for downstream keying applications

· Can operate as a stand-alone appliance

· Advanced features such as an anti-flicker filter, customizable presets, password protection, and SD pixel aspect ratio compensation

· Three-year hardware warranty and complimentary telephone support


Price and availability

Matrox Convert DVI Plus, priced at $1495 US (£1049, €1299) not including local taxes, will be available in March 2011 through a worldwide network of authorized dealers.

S3D

Your grandfather’s 3D.

S3D is short for Stereoscopic 3D. S3D requires viewers to wear special glasses in order to experience illusion of depth It is different from 3D computer generated animation that has been known as “3D.”

A “3D” animated film can also be in S3D, but it does not have to be.

Convergence in S3D Systems

Cross your cameras.

Convergence or toe-in in stereoscopic 3D camera systems is a term used to describe the inward rotation of one or both cameras along the vertical axis. When two stereoscopic cameras are converged on a subject, subsequent viewing of the recorded material will result in the subject appearing to be placed on the screen plane.

The terms is also (erroneously) used in post production to describe horizontal image translation (HIT). HIT manipulation can approximate on-set convergence. It is often used in conjunction with parallel camera recording for greater control over the final image.