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3D for Cinema, ProAV and Events
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| Over more than a century of motion picture presentations there have been periods when 3D has emerged, and each time interest has faded away. The latest 3D wave goes back to the advent of digital technology for cinemas. Digital Cinema Initiatives (DCI) was formed in 2002 and delivered its first DCI Specification in 2005, when Doremi was well ahead with the necessary technology for a DCI-compliant player. It was very soon clear that digital cinema technology could sweep aside many of the shortcomings of the film-based 3D presentations, and so open the door to a new 3D era. The digital medium is far more accurate than film could ever be. With no film weave, sparkles, scratches, frame hops or wear, digital cinema delivers, steady, clean, sharp, in-sync presentations that are as good on the 200th run as the first. This is the perfect medium to provide a comfortable and exciting viewing experience for stereoscopic 3D movies. |
| Tags: iss072
| doremi
| 3d
| mpeg2 mxf
| Digital Cinema Initiatives
| dci
| A view from Doremi
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Submitted by A view from Doremi
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Read this article in the tv-bay digital magazine |
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3d Screens
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| Often exhibitions such as IBC and NAB can be summed up as progressive slightly better products but nothing really new. Sometimes there is a breakthrough such as Ampexs introduction of the VTR in 1956. The early years of digital production and post tools were rich in totally new things. At the time I worked at Quantel and seeing inventions like Paintbox and a DVE video page turn for the first time was truly exciting; I knew these would be game-changers. What they did was instantly understandable and easy to apply. So, you may ask, why should it be that we are many years into the 3D revolution of the modern era and everyone knows what we really need to make 3DTV come alive, but we dont have. |
| Tags: iss071
| 3d
| glassless 3d
| Siegfried Foessel
| Fraunhofer
| ampex
| quantel
| Bob Pank
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Submitted by Bob Pank
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Read this article in the tv-bay digital magazine |
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Pointing out the right colours
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| In the old days of PAL and NTSC analogue television, a vectorscope was an essential tool for examining chroma at every part for the programme production and transmission chain. This was because the colour information was carried as a phase and amplitude modulation which could be sensitive to a variety of transmission or recording non-linearities and problems. These could cause colour degradation or be completely wrong. In the digital age, colour information is carried in digits which do not usually get corrupted at each regeneration or link. So why would you want to look the chroma (colour information), portrayed on the same analogue style instrument? |
| Tags: iss069
| cel-soft
| cel-scope 3d
| celsoft
| celscope
| vectorscope
| Robin Palmer
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Submitted by Robin Palmer
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Read this article in the tv-bay digital magazine |
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