Newsources and Blogs

3D? Opera? Celluloid Junkie calls the Tune

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I wish that people would respond to their articles more, especially the ones that are single issue and filled with their opinions. People get in trouble for having opinions, so when someone is brave enough to put one out there, they should be supported </end opinion>

They recently seem…

It seems that recently they are summing up daily news in the exhibition field in one long report. We’ll see how this works.

Whatever, check them out. They are an asset. We’ll try to highlight the critical writings on our site to give you a heads up.

CelluloidJunkie – A critical link

Tangential Art and Science

Wind Basics

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In the case of the wind turbine we use the energy from braking the wind, and if we double the wind speed, we get twice as many slices of wind moving through the rotor every second, and each of those slices contains four times as much energy, as we learned from the example of braking a car.

The graph shows that at a wind speed of 8 metres per second we get a power (amount of energy per second) of 314 Watts per square metre exposed to the wind (the wind is coming from a direction perpendicular to the swept rotor area).

At 16 m/s we get eight times as much power, i.e. 2509 W/m 2 . The table in the Reference Manual section gives you the power per square metre exposed to the wind for different wind speeds. 

 

It goes on from here of course. We’ll close with the Table of Contents:

Guided tour

 

 

 

Wind

 

 

 

 

 

 

Whence wind?

 

 

 

 

 

 

The Coriolis force

 

 

 

 

 

 

Global winds

 

 

 

 

 

 

Geostrophic wind

 

 

 

 

 

 

Local winds

 

 

 

 

 

 

Mountain winds

 

 

 

 

 

 

Energy in the wind

 

 

 

 

 

 

Wind deflection

 

 

 

 

 

 

Wind speeds & energy

 

 

 

 

 

 

Anemometers

 

 

 

 

 

 

Measurement in practice

 

 

 

 

 

 

The wind rose

 

 

 

 

 

 

Draw a wind rose

 

 

 

Turbine siting

 

  

 

Energy output

 

 

 

How does it work?

 

  

 

Generators

 

 

 

Turbine design

 

 

 

Manufacturing

 

 

 

R & D

 

    

Electrical grid

 

  

 

Environment
     

Economics

 

  

 

History of wind energy
     

Wind energy manual

 
Community FAQs

ASC – American Society of Cinematographers

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Since we are studying within the realm of technology, we will begin by researching the first moviemaking group who perform their magic using technology. This group was the first group who constantly and consistently asserted the concept that quality must be a primary issue in the transition to Digital Cinema. This group is known as The ASC—The American Society of Cinematographers. 

There was a lot of early excitement for dcinema, which culminated in the showing Episode II of StarWars, the first release with a big push to get many screens showing the movie. As exciting as it all was, the ASC was making certain that everyone had their eye on the future. Their belief was that the current level of technology hadn’t even reached the “good enough” stage. They kept pushing their contacts at the studios to insist that the standards would be set higher.

 

And they were right. The projectors at the time could barely light up a medium sized screen. And people in row 10 could see a jaggedly formed circle instead of a smooth path.

 

Go to the ASC website here: http://www.theasc.com/

 

Notice the tone of the site, who they are talking to, how education has a primary position in many the things they do. Read the first 3 paragraphs of The History of the ASC. Notice, in particular, the purpose in the 3rd paragraph. Now read the last paragraph.

 

Go to the website of the article named The Color Space Conundrum–Part One: Seeking Standards. You don’t have to read this article now, but we want to download it. So, the first thing to do is create a folder of your own on your computer, then create a folder inside that named DCinema Articles. Inside that folder, create a folder named ASC. Save this page of the article in that folder. 

 

There is a quote in this article that should be pointed out: “Video engineers, who are not cinematographers, “assist” the images in getting from point A to point B. However, a video engineer is a middleman who is human and therefore subjective. This fact led Arthur Miller, ASC (see image) to pen the following diatribe for the May 1952 issue of AC: “Much of the poor quality of video films as observed on home receivers is due to faulty electronic systems of the telecaster, to poor judgment of the engineer handling the monitor controls in the station, or both…. In short, much of the trouble still exists because of the lack of standardization in the television industry. Perhaps the strongest point here is the fact that a new factor enters into the telecasting of motion pictures: the privilege vested in the network’s engineering staff to control contrast and shading as TV films are being broadcast.””

 

You now hold the same responsible position as the engineers who Arthur Miller was deriding in 1952. The point of the training course is: Don’t get into the position that this will ever be said about you or your compatriots in the projection booth. Remember that you are entrusted with the material begun by the people with the ASC designation as the credits of a movie go by name.

 
This is the first section of the first course of the DCinemaCompliance Projectionists Course  
Tangential Art and Science

World Finance Affects Us All

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This week we look at the Land of the Rising Sun. Japan is going through major upheavals, and they will have consequences all over the world. And what are those wild and crazy Swiss central bankers up to? It’s time for another round of competitive devaluation. And of course I have to look at the recent Barron’s cover story, about how stocks are cheap. There’s a lot to cover.

Where Have My Earnings Gone?

Barron’s probably jinxed the stock market by stating why they think the Dow won’t fall to 5000, although we do have what I hope is the start of a nice bear market rally. Part of their reasoning is that stocks are cheap. They assign a price to earnings (P/E) ratio of a lowly 13, based upon 2009 estimated earnings of $51 in operating profits, which they suggest is historically low. And I agree that 13 is toward the low end and would represent a good long-term buying opportunity – if indeed it was 13.

Actually, if you want to get really bullish, go to S&P’s web site and look at their estimated earnings for 2009. They calculate a P/E of 10.89 on 2009 estimated operating earnings.

As I have written over the years, the long-term P/E studies all use “as-reported” earnings, or earnings that are reported on tax returns. Operating earnings are of the EBBS variety, or Earnings Before Bad Stuff (or whatever you want to designate as the BS component). Companies like to tell us to ignore all those “one-time” writedowns, which seem to happen a lot more than once these days.

Click the link for the balance of The Swiss Start Their Engines.

Video Processing

Avid Delivers Native RED Support

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In addition to handling native R3D footage, Avid DS customers will now be able to create HD RGB 4:4:4 proxies from high-resolution RED source material, which will provide real-time program monitoring and result in faster system response time – enabling artists to stay focused on the creative editorial aspects of a project.

Avid will also offer native RED support for the offline editing process via MetaFuze®, a tool that automates the conversion of formats such as RED and DPX to Avid DNxHD® media for HD offline workflows in Avid Media Composer® and HD finishing in Symphony™ systems. As a result, customers are able to take advantage of the Avid Advanced Conform workflow for RED and seamlessly move their projects from offline to online.

“We are very excited about the new Avid and RED integration,” said Ted Schilowitz of RED Digital Cinema.  “The ability to use the MetaFuze tool to turn RED files into true native MXF files at the various offline and online resolutions is a very powerful step that will enable a more streamlined workflow for the many RED projects around the world that are cutting on Avid.  The DS integration of RED files for online color grading and finishing is another important development on making offline to online very cost-effective. Fewer workflow steps and tape layoffs for finishing with RED files is the most effective and efficient way to deliver projects.”

Kirk Arnold, EVP and GM of Customer Operations at Avid said, “We strive to make the technology seamless for customers to allow them to keep focused on unleashing the creative talents that continue to entertain millions. We also understand that our customers want freedom and flexibility to work with whichever format they choose, and our effort to offer native RED support is the latest example of how we continue to evolve our solutions and meet customers’ needs.”

Native support for R3D files is available in Avid DS. version 10.1.1. For customers looking to upgrade, visit the Avid download center.  

 

For more information, like legal disclosures, go to the original story at the Avid website

Video Processing

3D Workflow for Final Cut Pro – CineForm

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CineForm Neo3D Enables Editors to Cut 3D Content on the FCP Timeline, Viewing Edits in Full 3D with Full Frame Rate Playback in Real Time

Solana Beach, CA, April 7, 2009 – CineForm®, Inc. (www.cineform.com), creators of high-fidelity compression-based workflow solutions for the post production marketplace, today announced it will unveil the industry’s first 3D editorial workflow solution for Apple Final Cut Pro users this month in its booth (#SL11605) at NAB 2009 in Las Vegas, NV. 

CineForm’s Neo3D™, a significant development in 3D post production workflows, enables Final Cut Pro users to edit 3D projects in real time with full frame rate playback to an external 3D monitor. Traditionally, 3D projects are edited in 2D as independent Left and Right eyes, with a final 3D conform after the entire editorial process is complete.  CineForm Neo3D simplifies this costly, time-intensive process by enabling the editorial team to experience the 3D story-telling process by viewing in full 3D while editing.  This technique allows many projects to eliminate 3D conform entirely and print directly from the Final Cut Pro timeline to electronic 3D distribution or projection files.

“Driven by increasing numbers of 3D film projects planned by Hollywood studios, the demand for efficient 3D post workflows has increased significantly in the last two years,” said David Taylor, CEO of CineForm, Inc.  “But using existing 2D editorial workflows for 3D projects increases overall costs due to feature inefficiencies. With Neo3D we’ve extended CineForm’s workflow innovations to 3D by enabling editors to view their work, including independent adjustments for color and convergence, in 3D while they’re editing.  This significantly reduces overall project complexity and costs.  We’re excited to demonstrate Neo3D in action in our booth at NAB 2009.”

Neo3D: How Does it Work?

Read the entire release: CineForm

Interesting, But Outside

Affleck Avid Congo Crisis – “Gimme Shelter”

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The technology allowed Affleck to view and edit footage in a hotel room each night after shooting the film in November in the North Kivu region of the Democratic Republic of Congo.

The short film chronicles the suffering of the Congolese people who’ve been forced to flee their homes. It was released in December to help the United Nations High Commissioner for Refugees raise $23 million for clean water and emergency assistance kits for the war- torn region.

Affleck said he was able to cut just-shot digital photography in a place where the “infrastructure was as broken down as any place in the world” using equipment as simple as a handheld camera and laptop. The footage was then sent to his editor in Los Angeles.

For more: NAB365

Interesting, But Outside

SGI Sells Itself to Rackable

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“We have been working very hard to strengthen our company, and today, we’ve taken another big step in that direction,” SGI CEO Robert Ewald said in a statement that would make even the most exuberant of SGI-optimists wince. “This transaction represents a compelling opportunity for Silicon Graphics’ customers, partners and employees, who can all benefit from the emerging stronger company with better technologies, products and markets [sic] reach.”

For more, read: All Things Digital 

Connectivity

The Ultimate Guide to Maya

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The easy to navigate interface of the DVD makes learning easy as you can skip directly to a project and get your hands dirty playing in Maya. Need a little more instruction on Maya, watch Paul work through a workflow tutorial to build your foundation before tackling a project. the choice is yours, learn at your pace!

Throughout the course of this 2 DVD set, you will learn:

    * Organization of the Maya interface

    * Essentials and workflow’s within Maya

    * Workflow for modeling NURBS surfaces

    * Workflow for modeling polygonal surfaces

    * Workflow for modeling subdivision surfaces

    * Shading and texturing techniques

    * Lighting tools and methods

    * Rendering settings and techniques

    * Basic workflow’s and tools for animation.

For more information, see the Paul Conner site

Paul Conner has been creating content in graphics and computer animation for over sixteen years. He is currently a Certified Maya Instructor, and founder of the Digital Animation Center at the University of Colorado.

Some of Paul’s clients include: The Museum of Nature and Science, Warner Brothers, The WB Network, The Discovery Channel, PAX-TV, Starz/Encore, 3D Magazine, Anheiser Busch, NBC, IMAX, Sire Records and Reader’s Digest. 

Connectivity

Bright ~ 1080p ~ HDMI ~ Signage with BrightSign

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Sample image

 

o Simple Networking – automatically download content from a folder on a web server, locally or over the Internet.

o Managed Networking – With your own server or using a Brightsign Network Manager account with SSL support, you can organize, manage and update content and software remotely and securely. Units can be grouped together, creating and scheduling presentations to be deployed.

o RSS & Time – Supports playback of RSS feeds, and updating time via the Internet.

o Network Control – Send/Receive commands via UDP

• Zones & Widgets for specialized concepts. You divide your screen into multiple, distinct content zones to playback videos, images, text and RSS feeds. Each zone has its own distinct playlist, and the layout and number of zones are configurable.

o Also allows control of background color, background image, font, text color and supports PowerPoint style transitions effects between images.

• 1080p with HDMI connections.

• Some units specialized for kiosk use, some for presentation.

Check them at: www.brightsign.biz

Connectivity

Gefen Showcases New A/V Cinema Scaler Pro Solutions

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Gefen Showcases New A/V Cinema Scaler Pro Solutions for Integrating Pre-Show Advertising and Alternative Content in Digital Cinema Installations

Amsterdam, Netherlands – Gefen’s new A/V Cinema Scaler Pro I and II provide two plug and play solutions for theatre operators seeking to expand their offerings. By integrating pre-show advertising and connecting satellite television, computer, video camera and gaming systems to the digital cinema projector, operators can rent the theatre for personal parties, important broadcast events and business meetings to build revenue.

Both the A/V Cinema Scaler Pro I and II come in a rack mounted enclosure that supplies several inputs for today’s most popular audio/video formats. Each one offers robust scaling capabilities and format conversion. High definition video is output in the DVI format with accompanying audio that can be delivered as 7.1 DB25 or channeled through the theatre’s surround sound audio system.

A/V Cinema Scaler Pro I

The A/V Cinema Scaler Pro I with Analog DB25 Audio accepts up to six audio/video sources, providing two component video , one VGA , two DVI and one HDMI inputs. Audio is input in the HDMI format, in digital S/PDIF and TOSlink or analog L/R format. Audio can also be input and output as analog AES DB25 at up to 7.1 channels. The selected video is converted, if necessary, and output as high definition digital video in the DVI format, supporting resolutions to 2048 (2k). The on-screen and front panel LED displays guide users through all scaling features while the IR remote offers easy control. An RS-232 port is also provided. HDCP compliance is supported on the HDMI input.

A/V Cinema Scaler Pro II

The A/V Cinema Scaler Pro II with Analog and Digital DB25 Audio also allows the connection of six audio/video sources, outputting each selected source in the DVI format with 7.1 channels of analog DB25 audio. This unit also supports an additional digital audio input in DB25. With active analog and digital DB25 balanced audio outputs at up to 7.1 channels, the Pro II model offers a more enhanced audio option for theatres working with DB25.

Societies

EDCF-3D Guide/Call for Materials

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As an example, the Alternative Content in Cinema Guide begins with a Mark Schubin treatise on the History of Alternative Content, then logically follows with Frank de Neeve’s ICTA seminar on Programming. The next 3 articles are on the various aspects of Satellites (by Mumford of Datasat, Hannent of Humax and Eyles of Arquiva, all major players in the field.) Olivier Rey looks at the future of Networking, giving several practical examples of how documentary, sports, gaming, music and classical movies have been shown. Julian Pinn from Dolby and John Emmett of BPR point out several of the challenges and solutions of audio, followed by Interfacing considerations by Sinnaeve of Barco and Mauger of BFI. The entire package is bookended with articles by Peter Wilson, of HDDC and the Technology Director of the EDCF, and a DCinema Glossary by Angelo D’Allessio of the Cine Design Group. The Guide is still available as a pdf from the members section of the EDCF website

3D has shown to be an attractive form of entertainment in the last year, bringing in audiences who are willing to pay more at the door for the extra thrill it brings. The field is moving as the technology improves. Several manufacturers have introduced new products. More than a dozen major features have been announced from the studios.

Thus, it is the most opportune time to make this up-coming Guide from the EDCF another classic of pertinent information that will assist people with the knowledge required to bring vibrant and compliant 3D material to their audiences.

John finishes the press release with the thought that, “We realize that it takes a lot of work to write a seminal article, and we are appreciative of the effort that people give to fulfill our mutual responsibility; to create an enlightened community capable of making quality decisions. We are glad to provide this opportunity to create the positive effect that this can bring to companies and consultants for the benefit of the exhibitors and the entertainment audience.”

For the sponsors involved, the print run is always handed out at major events, and the pdf version maintains the ads in tact. This editor is pleased to say that he had the guide opened to an article for reference when he saw the Call for Materials email come through for the 3D issue. 

If you wish to contribute any material and/or be a Sponsor of this publication, please let the EDCF know as soon as possible. Write John Graham at the link provided.

Societies

ASC–Cinematographer Style…Plus

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Cinematographer Style

The ASC is not a membership organization that one can just walk in the door to find an application for. Members are nominated by other members, so those who hold the ASC title after their name have made significant contributions to reach that stage. 

But it doesn’t mean that others can’t be involved. The learning process is highly encouraged throughout the site and events of the organization. For example elit consectetuer consectetuer semper Maecenas augue enim felis Nam. Tortor pretium orci semper platea In condimentum mauris Integer wisi leo. Nibh leo a mauris ipsum justo convallis nunc at orci Fusce. Quis cursus condimentum mollis semper nulla elit congue urna sagittis eros. Fringilla.

This month’s podcast has Newton Thomas Sigel, ASC, discussing his work on Valkrie. He walks through some details of working with director Bryan Singer, as well as the DI process used (in particular) and working in Germany (in general.) Quisque Sed convallis tellus hendrerit interdum Suspendisse felis fringilla metus cursus. Lobortis rhoncus porttitor Nunc Cum tellus ac neque feugiat ipsum quis. 

Tangential information is valuable in and of itself. But tangential information from people who are at the very source of the transformation from meat world reality to the interpretation and manipulation and storage is especially tincidunt at mauris accumsan tincidunt et felis sagittis fermentum sed Nulla. Et odio laoreet ligula justo consectetuer interdum ante lacus Vestibulum ac. Ligula tincidunt pede id id condimentum nulla elit porttitor dui eget. Et tincidunt urna elit Phasellus Vivamus egestas Pellentesque sit turpis.

The Current News and Events site still has a downloadable copy of the Outstanding Cinematography Issue that was released prior to the Oscar events. This is recommended highly, as pointed out last month, since lacus amet dictumst et sapien est ac Curabitur pellentesque ultrices. Feugiat convallis turpis massa ligula sagittis enim aliquet fringilla orci pretium. Ut Aenean Vestibulum suscipit eros pede et nibh laoreet Pellentesque mus. Aliquet ultrices dictumst justo justo tortor vitae nisl nec sem.

Exhibitor News

ShoWest 2009

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The exhibitors (the cinema owners) have gotten to rely upon the studios capabilities of scheduling correctly. Quite amazing, given the schedules of all the participants, the ability to make one more take last all day, editing a billion variables and the process of dubbing and scoring and translations and prints and distribution. But they pull it off, and with that they get the trust of the exhibitors.

And so it happens again on the final days of March and the first days of April. ShoWest in Vegas, jointly at the adjoining Paris and Balley’s hotels.

[Après ShoWest] Always good to be reminded how much one hates places like that. Not those particular hotels in particular, but all of them in general for their overpriced and insipid everything.  

One wonders, of course, what it will be like given restrictions on travel budgets and a general malaise of the financial world. Fewer movies being made, less than expected in the dcinema transition and equipment manufacturers who have to be biting their nails.

[Après ShoWest] The MPAA released their movie numbers for the year while we were there assembled. If one doesn’t look past the mirrors, then things look good; up this and better that. Look behind the mirrors and really things were level…which ain’t bad in times like these. 

If the manufacturing companies ramps up to expect sales in the consistent thousands, if one hires engineers and people to handle customer needs and wants and of course, people to make face at the convention – Hundreds of thousands of dollars…a day. Booths themselves are several hundred per square meter. Hotel charges to put all these people up…ouch. The cost of dragging equipment around…double ouch. Getting prepared for the show…a huge distraction that consumes resources that could better be used a hundred other places.

[Après ShoWest] Just after the show, Panasonic announced that they were pulling out of IBC. Apple and Avid and others have already pulled out of NAB. Their reason to show is to grab the coattails of big companies like these who can draw people. If they are gone and people find it hard to travel for budget reasons…zounds…not look good, boss. 

This has gone on for years in the DCinema world. And what does anyone have to show for it. Perhaps Boeing was brilliant for seeing it as a game too long and bailing early. Texas Instruments has poured a decades worth of blood on the floor in terrific support and little in return. What we just saw is 35% of their staff gone.

Who has breathed aloud the question…what if they decided to pull out now?

Well, they didn’t and probably won’t. Sony is not waiting for that to happen. They’ve got a solid bead on the prize now that the product works and are playing the cards. A good thing to do when the premier show is in Vegas.

[Après ShoWest] Sony had the major announcement of the show; 5,000 pieces of big digital 4K headed to all the AMC theater screens. The inside data shows that everyone is probably a winner, and the implications for DCIP are interesting.  

As usual, for people like me, it is trolling for passes time. Can’t get in without a fistful of money, but the Sunshine’s put on a great show. Perhaps it is time to pay the $300 and get the pass and the food and the respect. Oh? No pass for that amount? No respect either?

[Après ShoWest] As it turned out, I got a couple of passes. But alas, there was very little food. I pretty much starved, but will save you the stories. Suffice to say that the convention that used to brag on its great entertainment and spectacular parties with wonderful food was actually serving hot dogs at one of the lunches…and it went downhill from there.

Well, the food’s decent.

[Après ShoWest] The people are still good to be with. See you next year.

…Like Tangents In Rain