You have got to have sound:
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You get the sound from amazing places:
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You have got to have sound:
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You get the sound from amazing places:
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Pierro, how do you get so much light to the screen? Do the pictures completely overlap, or are they two halves put together?
Do you put sub-titles only on one projector?
Do your clients talk to you about 3D in the home? Do they appreciate being with 500 other people to watch a film like this? Or do they expect to see it in their home theater? Do you sell Blu-ray and DVD’s in your store?
Are you showing 3D in any of your other rooms? Are they also XpanD?
You have several years of experience with expensive 3D glasses (instead of throw-aways, such as RealD.) What is your experience with theft or destruction.
Have you estimated the cost of washing the glasses? the long term cost of glasses?
There are more 3D movies coming. Do you see the situation when several 3D movies will be playing at the same time? Can Arcadia handle this?
This is from the H-Online Article:
NIST-certified USB Flash drives with hardware encryption cracked
Yes; DCI specifies that the euqipment meets FIPs Level 3, not level 2. But 3 huge companies making the same mistake? Hmmm. Plus, this is not just a DCinema issue, this affect everyone who tries to keep their personal or work computer safe, trusting devices and technology of this type. My guess is that there was an Application Note that specified how to make a particular chipset work (which all the manufacturers used.) It was the Application Note that everyone followed and which had the implementation flaw. Just a guess.
The article continues, excepted below. There is also some fine commentary about this issue at: Schnieier on Security.
The USB drives in question encrypt the stored data via the practically uncrackable AES 256-bit hardware encryption system. … the SySS security experts found a rather blatant flaw that has quite obviously slipped through testers’ nets. … the program will, irrespective of the password, always send the same character string to the drive after performing various crypto operations…
Cracking the drives is therefore quite simple. The SySS experts wrote a small tool … The vulnerable devices include the Kingston DataTraveler BlackBox, the SanDisk Cruzer Enterprise FIPS Edition and the Verbatim Corporate Secure FIPS Edition.
When notified by SySS about this worst case security scenario, the respective vendors responded quite differently. Kingston started a recall of the affected products; SanDisk and Verbatim issued woolly security bulletins about a “potential vulnerability in the access control application” and provided a software update.
Security and Privacy are parallel tracks. Letting someone into your computer for purposes that you are not allowed to control, or even know about, is fraught with potential points of failure down the line. Do I, or you, need to know how or why right now? Is there always someone who is trying to exploit was to find hidden files to do something nefarious? Just allowing someone, anyone, to put 100k (the standard setting, not a limit) of info on your computer without asking, without allowing you to see what it actually does or says, is wrong.
CCleaner, FlashCookiesView and Flash Cookie Cleaner get good reviews. If you are using Firefox, you can use Foxit and flashblock, but remember, these files are ubiquitous – they are shared by all browsers on your system.
Here is the link for the settings manager at Adobe — feels like fox in the henhouse, and is not easy to use…
[Update: I just used a nice program from MacHacks named Flush.app – Flash Cookie Removal Tool For OS X. Quick to download and simple to use, for Mac users it seems a nice way to go.]
But the flat-viewer’s experience with 3D imagery can vary. While I find viewing 3D imagery uncomfortable, Daniel Terdiman, another person at CNET who can’t see 3D, saw the 3D version of Avatar and wore the 3D glasses. It looked fine to him, just not 3D.
[The article continues into the realm of 3D for TV, and give the authors experiences to questions partially answered, and even sometimes answered wrongly. Not only is there a problem with getting the data to the people on the convention floor, and their need tospin or hedge what they do or don’t know, but the reality is that the studies they need to make any emperical statement just haven’t really been done.
So, there is anecdotal data and a lot of opinion. The comments to his article are painful to read. And the same type of comments show up in professional as well as consumer journals.
There was a recent headline that claimed a million TV sets are now in the field which are 3D capable. The essential meaning is that they can put pictures up at a rate exceeding 100Hz, meaning a left and right image at the same 50 or 60Hz rate that last year’s technology allowed. If they are able to turn one of those images off, allowing just the right or left eye image to stream at 50/60Hz, then the movie will be ultimately the same as what we are used to.
Mark Shubin’s Cafe article of August 2, 2009 (3D for the One-Eyed) makes a point about several of the natural clues we get about depth. Read it before reading the balance of:
TV industry turns a blind eye to non-3D viewers
January 15, 2010 4:00 AM PST
PS–Mark closes his article with the best advice:
Meanwhile, keep an open mind and remember that things aren’t always what they seem.
Links from the article:
LCDTV Association College of Optometrists in Vision Development
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The 2007 Cookson prediction that the manufacturers of consumer equipment wouldn’t stop at a quality equivalent of what is seen in the theater proved true with a twist at CES 2010. Instead of educating their market, pointing out that with the latest USB 1.4 and Blu-ray specs they are able to saturate the screen with more colors and higher frame rates, they put their chips into the 3D basket. Maybe it will play out for them.
Looking at the professional market, one has to suspect that if an exhibitor didn’t change for Avatar, they are going to wait until everything makes sense. The Series II projectors will help – perhaps getting some equipment through the compliance check-out pipeline would help as well. Likely, it is greater availability of money. Not a great time for Mr. Iger to be changing the rules for Disney releases as far as the cinemas are concerned. [Is there a master plan behind Disney’s house cleaning?]
Notwithstanding, there are movies in the pipeline, and from the looks of things, the ability to make 3D movies is becoming commoditized. I’ll have to wait until there’s an iPhone app. (Reminds me…did everyone pick up the AJA iPhone app?)
PANASONIC UNVEILS WORLD’S FIRST INTEGRATED FULL HD 3D CAMCORDER AT CES 2010
Element Technica Quasar™ 3D Rigs Now in Use
3D Film Factory Introduces First Affordable 3D Rig For Red One Cameras
All great. Each able to suck up more time than you have.
PAID
Uncategorized
Make certain to cut out 15 minutes, since you will want to see the entire piece…for example, set it up on a 2nd monitor while eating breakfast and answering email on the other monitor. Oh, and, cut out other time in your day, since you will be showing and sending this far and wide.
Click here [The Third & The Seventh from Alex Roman.] to get a new screen with the original feed, or click on the HD, the FullScreen and the Play button here:
Make certain to watch the “Making Of” called “Compositing Breakdown (T&S)“
More info at:
GreyScaleGorrilla
For a special treat, we’ve extracted the first 3 questions from an interview done at the blog Dimensión 2.5 [EN PORTADA: Alex Roman y “The Third & The Seventh”]. It is originally in Spanish, so first 3 questions are translated by our mutual friend Google.
Both Spanish and English links are at the end of this article.
Miguel: Better known as Alex Roman, today I present an interview with Jorge Seva, which will disclose your career and the end result of “The Third & The Seventh,” a short film – out of the ordinary.
Welcome to Dimension 2.5. “The Third & The Seventh” is an unconventional short, by your own words, based on a sequence of architectural images from the photographic point of view. How was the idea?
“Alex”: Thanks Miguel. The project has a length of about 4 years on paper. I started thinking about it long ago, while working in a company that infoarquitectura, where the line was the general aesthetics in these cases, very different from that offered by photographers specializing in architectural photography fascinated me so much at the time.
So I thought … why not take a short architectural from that point of view?. It was not until 2008 when I started seriously with the issue.
But before going into details about “The Third & The Seventh”, how about if we talk a little about yourself?. To begin with, and as wakefulness in the introduction to this interview, Alex Roman is a pseudonym.
Indeed, my real name is Jorge Seva, born in Alicante in 1979 and resident in Madrid since 1999.
Alex Roman is an “avatar” I have started using for some time. He had published work with my real name before, but with this new project I wanted to do something different, a kind of aliases. Unfortunately in some specialized portals only allow you to post jobs with “real” name, hence I took Alex 🙂
Miguel: I’ve always loved the realism of your pictures, tell me, apart from many hours of work, what is the secret?
Alex: The working hours is true but I am a very lazy guy and I find it very hard to start. Once started, I shot hours nonstop, but the principle is hard.
Besides, I do not think there’s any secret, but one thing I’ve always clear and are role models. Let me explain. I rarely fixed in CG work as a model of inspiration. I think that I would create a relative error in terms of realism that eventually lead me to an absolute error. My inspiration often lies almost always in professional photography, cinema and advertising.
Observe, observe, and then … watch a little more real models.
Miguel: What are your main work tools?
Alex: Mainly 3ds Max modeling and animation, V-Ray as rendering engine, Photoshop for texturing, and After Effects for postproduction. Ah! and an essential tool in our day, Google 🙂
So, again, here are the links to the interview: In the original Spanish:
EN PORTADA: Alex Roman y “The Third & The Seventh”
and in Google’d English: Alex Roman and “The Third & The Seventh”
Read ArsTechnica; 768-bit RSA cracked, 1024-bit safe (for now)—768-bit RSA cracked, 1024-bit safe (for now)
Researchers have posted a preprint that describes their method for factoring a number used for RSA 768-bit encryption. By John Timmer | Last updated January 7, 2010 5:20 PM
With the increasing computing power available to even casual users, the security-conscious have had to move on to increasingly robust encryption, lest they find their information vulnerable to brute-force attacks. The latest milestone to fall is 768-bit RSA; in a paper posted on a cryptography preprint server, academic researchers have now announced that they factored one of these keys in early December.
Most modern cryptography relies on single large numbers that are the product of two primes. If you know the numbers, it’s relatively easy to encrypt and decrypt data; if you don’t, finding the numbers by brute force is a big computational challenge. But this challenge gets easier every year as processor speed and efficiency increase, making “secure” a bit of a moving target. The paper describes how the process was done with commodity hardware, albeit lots of it.
Their first step involved sieving, or identifying appropriate integers; that took the equivalent of 1,500 years on one core of a 2.2GHz Opteron; the results occupied about 5TB. Those were then uniqued and processed into a matrix; because of all the previous work, actually using the matrix to factor the RSA value only took a cluster less than half a day. Although most people aren’t going to have access to these sorts of clusters, they represent a trivial amount of computing power for many organizations. As a result, the authors conclude, “The overall effort is sufficiently low that even for short-term protection of data of little value, 768-bit RSA moduli can no longer be recommended.” 1024-bit values should be good for a few years still.
Given that these developments are somewhat inevitable, even the authors sound a bit bored by their report. “There is nothing new to be reported for the square root step, except for the resulting factorization of RSA-768” they write. “Nevertheless, and for the record, we present some of the details.” Still, they manage to have a little fun, in one place referencing a YouTube clip of a Tarantino film following their use of the term “bingo.”
[Another good article at: New Record in the Area of Prime Number Decomposition of Cryptographically Important Numbers – not that the article gives more, but the Related Stories are interesting.]
The specifications don’t seem to be available to the commons yet. The Blu-ray Association site that I would expect it on is linked. This short article comes from InAVate – Details emerge on Blu-ray 3D specification.
None of the articles mention it specifically, but I understand that HDMI 1.4 is required for Blu-ray 3D…one more upgrade…
MPEG4-MVC compresses both left and right eye views, and can provide full 1080p-resolution as well backwards compatibility with current 2D players. MVC was developed by MPEG to support multiple simultaneous views of a subject.
In general, an MVC encoder receivers N temporarily synchronised video streams and generates a single output bit-stream. The decoder receivers the bit-stream, and decodes and outputs the N video signals.
MVC works by exploiting the similarities between multiple video captures of a scene. By eliminating redundant information across camera views, MVC achieves a reduction in bit rate of around 20-25%.
[Editor: Sifting through the Bluray association buzzword bitstream is torture. If the standard is written like this, it will be a great purgative.]
Further data from Xhitlabs says:
The specification allows every Blu-ray 3D player and movie to deliver full HD 1080p resolution (1920×1080, progressive scan) to each eye, thereby maintaining the industry leading image quality, which further distances Blu-ray from high-definition options provided by Internet-based services.
The specification is display agnostic, meaning that Blu-ray 3D products will deliver the 3D image to any compatible 3D display, regardless of whether that display uses LCD, Plasma or other technology and regardless of what 3D technology the display uses to deliver the image to the viewer’s eyes. The compulsory thing for stereoscopic 3D is that those screens should support 120Hz or higher refresh rate.
The specification supports playback of 2D discs in forthcoming 3D players and can enable 2D playback of Blu-ray 3D discs on the large installed base of Blu-ray Disc players currently in homes around the world.
The Blu-ray 3D specification calls for encoding 3D video using the Multiview Video Coding (MVC) codec, an extension to the ITU-T H.264 Advanced Video Coding (AVC) codec currently supported by all Blu-ray disc players. MPEG4-MVC compresses both left and right eye views with a typical 50% overhead compared to equivalent 2D content, according to BDA; and can provide full 1080p resolution backward compatibility with current 2D Blu-ray disc players. The specification also incorporates enhanced graphic features for 3D. These features provide a new experience for users, enabling navigation using 3D graphic menus and displaying 3D subtitles positioned in 3D video.
What is important, the BDA has not announced any actual stereoscopic 3D-capable BD players. Nevertheless, the BDA stressed that Sony PlayStation 3 is stereo 3D-compatible with a simple update of its firmware.
I just want a cello.
Acquisition People and Groups
- Philip Bloom
- Some Like It Shot Productions
- Steve Weiss Zacuto Blog
- Tom Guilmette DP
- Cinema 5d
- Exposure Room
- Odd Web Things
- Redrock Micro
- Sara Collaton Photography
Acquuisition Equipment
Training Sites
Times of transition bring out the iconoclasts and entrenched white papers and no end of forum discussions. In his latest Digital Content Producer article, D.W. Leitner cuts through the arguments with a paraphrase from James Carville: It’s the audience, stupid. He’s going to Park City with the partner he brought to production, long GOP MPEG2, and he’s sticking to his decision.
He makes an end-around to discussions that started years ago and are still going on in the forums; compression, long gop, is/is not ‘good enough’. And why not? As he points out, A) He did the tests at the time, with the technology available, and B) the technology has gotten him the product he needed at the budget he had in a manner he considered painless compared to a previous headache project. In the process he mentions that the technology performed without dropouts during the recording phase, a comment that is mirrored in technical papers (albeit a Sony Broadcast document), as well as many forum comments – the post production phase also is easier and has fewer dropouts while handling more data than H.264 variations.
So, who is to knock it? Use what works.
Except – that we are in a transition that has moved startling fast – 1080i was defensible until 1080p showed up in every home for less than a 1,000 moneyunits, as well as multi-processor computers and the NLE software to support them. The testing has to keep repeating as each technology ripens. For example, Phillip Bloom makes an astounding presentation which doesn’t once attempt defense, instead showing all the same ideals of cost and quality for camera technology that wouldn’t have been discussed by movie pros 3 years ago (and then, only to disqualify.)
The good news is that the horrors of the unresolvable video delivery and presentation format wars didn’t allow a merely ‘good enough’ standard to inhibit innovation the way that 16-bit audio became.