Lytro Cameras Getting 3D Parallax Software Update

Tim here, by the end of the year that cool Lytro camera that allows you to choose focus after you take the photo will be adding a software update by the end of the year that allows you to also choose 3D parallax. When the Lytro camera was first announced one of the early ideas was to use this technology for 3D image capture. Since the cameras record light rays in terms of the direction, color, and intensity of their travel, it's entirely possible to use that information to construct a 3D scene. At first however the technology was limited to choosing focus.

The below video is from the Engadget who went to the Lytro launch in Hong Kong, where the company previewed those parallax effects coming soon. The update allows users to pan around the scene slightly, and the subject adjusts accordingly. It's pretty cool.

A Lytro rep (in the video) said the new feature would be added by the end of the year, and would be pushed out via software update. Also, since the raw data needed for the parallax effect is already present in all pictures, it will work on photos taken before the update is launched.

This is definitely going to be a must have this holiday season. Lytro also mentioned to be working on support for 3D monitors and TVs. Drop hints to loved ones and look for this nifty stocking stuffer.

PROMETHEUS Setting Box Office Records Already! *AND* Learn About The Awesome Tech Behind The Movie!!

Of course it is going to do well at the box office, you can take that for granted. But just how well will it do? From the first indicators - VERY well. PROMETHEUS has eclipsed AVATAR and HARRY POTTER AND THE DEATHLY HALLOWS PART 2 in pre-sales at the BFI IMAX theater in London. That means that over 30,000 people have bought advance tickets to the tune of $737,588 from ONE theater.

BFI had booked 18,287 tickets after just one week of sales ($474,687) which set a new high for them in pre-sales, and now the records just keep falling to PROMETHEUS as time rolls along toward its release date.

Here's the storyline for the movie:

Ridley Scott, director of “Alien” and “Blade Runner,” returns to the genre he helped define. With PROMETHEUS, he creates a groundbreaking mythology, in which a team of explorers discover a clue to the origins of mankind on Earth, leading them on a thrilling journey to the darkest corners of the universe. There, they must fight a terrifying battle to save the future of the human race. 

Can this ONE theater hit $1 million in pre-sales before the release of the movie on June 8th? Sure is nice to think so.

*AND*

PROMETHEUS has over 1400 3D visual effects shots. They used software programs like Autodesk's Maya (3D animation), Pixar's Renderman (ray-traced scenes), Adobe AfterEffects (for well, after effects!) and The Foundry's NUKE (compositing) to name several.

Ten different VFX companies tackled the work, though Moving Picture Company garnered the most. To me, this is very exciting. I have often found various effects houses to have their "brand" all over their work - like in TRANSFORMERS I found ILM to have ample superiority over hard edged robots and buildings while a company like Weta Digital has the finest control over rounded creatures like humans and faces in particular. Combine them and you have one heckuva effects movie. It's exciting to me to see another visual effects house getting the bulk of the work because we may see things we've never seen before! Not that these guys haven't been around for awhile - they have. They've worked and are working on movies like CLASH OF THE TITANS, SKYFALL, SUPERMAN: MAN OF STEEL, WORLD WAR Z, 47 RONIN, LIFE OF PI, etc. But let's face it, they were chosen as the led effects shops over ILM and Weta and it should look slightly different and exciting. I saw things in TITANS for example that blew my mind! Can't wait!!

Ridley Scott used Red Epic cameras on 3ality Technica Atom rigs. He had four mounted rigs (with the same configurations) and one steadicam for the bulk of the shoot. The consistent configurations of the mounted rigs eased editing a great deal.

The cameras were all connected to 3ality's Stereo Image Processors (SIPs) for the recording of all the data bursting forth from those VERY high resolution cameras. The SIPs also helped maintain speedy transitions when lens needed to be changed or cameras realigned. The technology goes further by offering advice on the fly to the filmmakers on convergence (creating a single image from two different camera image angles converged on the same point in space), interaxial (the distance between the two camera's lenses - like our eyes) settings and any alerts.

These settings are EXTREMELY important for a comfortable viewing experience. The settings must be correct during transitions or it will be quite jarring to the audience. Those SIPs track these configurations and help eliminate any transition issues.

The PROMETHEUS team actually shot far more resolution than what was necessary for the final 2K product. In fact they shot at 5K and 120 frames per second! They used the extra space surrounding the final viewable product to assist in eliminating edge artifacts (as shown in the image).

The idea and thrust behind the PROMETHEUS technology was to get the 3D workflow as close to 2D and from the sound of this fine report that was accomplished. 3ality Technica's tech allows for the same number of 3D setups in a shooting day as 2D. There is no real excuse now in saying that 3D is slower because you are setting up 2 cameras, not 1. There is no longer an excuse that the 3D cameras and rigs are too big - they aren't now!

The new technology here eliminates these things from the equation and gives time back to the filmmaker to be as creative as they can be and not worry about the optics. PROMETHEUS is set to fully enjoy the reaction from audiences worldwide on what they have accomplished.

I fully endorse the write up that Electronic Design did on this. Check it out.

Sources: THR | ElectronicDesign

3D Geek Alert: Fujifilm Snaps Up Even More Attention With Their 2nd Generation 3D Consumer Camera!!

Wow! I knew this was coming today and Fujifilm did not disappoint. The Finepix Real 3D W3 digital camera system officially launches in September and brings with it the ability to shoot hi-res 3D photos (1920x1080 or higher) as well as 720p HD video with stereo audio.

Your newly captured 3D media can then be viewed on most new 3D TVs (through the camera's mini HDMI v1.4 port) or printed (via Fujifilm's SeeHere.com - for example: 5x7" high precision prints with lenticular 3D technology for $6.99).

The W3 uses twin 10-megapixel CCD sensors and dual FUJINON (some of the world's best optics!) 3x optical zoom lenses (35-105mm) that are 75 mm apart. The synchronized control of the CCD sensors release the left and right shutters simultaneously.

You are not constrained to only use the camera in three dimensions as there are exciting W3 features that can be used for unique 2D shots as well. One example is the W3's Tele/Wide Simultaneous Shooting feature that allows photographers to zoom in on a subject while concurrently taking a wide-angle shot of the same scene!

The dimensions for the camera are just under an inch (21.0 mm) at its thinnest point and weighs 8.5 ounces with memory card and battery installed.

The camera has an autostereoscopic (glasses-free) 3.5" widescreen LCD 3D screen (1150K resolution) which uses the newly developed RP (Real Photo) processor 3D HD, which merges the left and right images into a single image/video. All of this is built into a nicely balanced stainless steel body.

Some further camera details:
- Switch 2D/3D Button to switch between capturing a subject in 2D or 3D instantly.
- One Touch Movie Mode using dedicated button to instantly changing from still to movie mode.
- Auto and Manual Parallax Control to automatically adjust parallax in 3D Auto mode for an optimal sense of depth.
- MyFinePix Studio 3D Movie and Photo Editor software allows manually editing captured 3D images effortlessly.
- Manual Shooting Functions with aperture and shutter priority.
- 13 scene positions to automatically optimize camera settings for some of the most common shooting environments.
- Super Intelligent Flash adjusts flash output and timing to capture subjects and background.

All this for a quite affordable $499.95 in early September. I am totally thrilled by this announcement! Consumers need more affordable choices for 3D at home and the W3 delivers. I hope to get one of these soon and I will post a review ASAP.

More info when I obtain it!!

3D Geek Alert: Now Companies Are Innovating! Simple New 3D Lens For Panasonic's G Series On Its Way!!

Wow. Love this elegant solution for capturing 3D at home! As we have seen in the past, if you wanted home 3D you had to buy an all in one unit and foot the bill accordingly. Moreover, while they are indeed 3D cameras, they were one dimensional with regard to flexibility.

Now enters Panasonic with a truly wonderful innovation! I do not know how well if performs yet, but on a purely high level the new 3D Lens for the LUMIX G Micro System Series (a Micro 4:3 system) seems to hit all the needs of today's consumers.

The system utilizes two integrated optical systems within a single lens assembly feeding left and right eye images to a single (and flexible) CCD to be processed by Panasonic's 3D image system. The interchangeable lens assembly is very compact too. The result should be very elegant: No time lags or distortion between left and right eyes, even when shooting moving objects

Screen Digest says that by 2014 there will be 3DTVs in about a quarter of all homes in major markets. That is an impressive figure. Someone has to provide consumer solutions to capture all those family moments in 3D and Panasonic is definitely stepping up (Canon and Sony will also probably do something similar for their interchangeable lens camera systems, but they will most likely be beamsplitters by design, and therefore bulky).

I am loving the innovation I have been seeing lately in consumer home 3D electronics. Impressive thinking is taking place. I will more than likely be picking up one of these G series cameras now that 3D is involved. :-)

Source: Screen Digest, ‘Bringing 3D Home: the opportunities for 3D broadcast’, 2010

3D Geek Alert: Scorsese's 3D Steadicam Rig For HUGO CABRET And More Info On Just What Cameras He Is Using...

Got a couple of interesting behind the scenes news items for you 3D geeks out there who are following Martin Scorsese's project HUGO CABRET.

First, Andrea from 3D-Life.it sent me some cool backstage photos (which I always love receiving) which show us 3D steadicam operator Chris Fawcett using a rather interesting 3D rig setup (click for larger images). Note that you can configure the set up for an operator to stand up or sit down as needed. Be sure to click through to 3D-Life for more shots.

As these shots demonstrate, Scorsese is using a 3D beam-splitter rig (not sure of manufacturer yet) to house two ARRI Alexa cameras used with a steadicam package on a Segway! How cool is that? Makes sense that it would be quite functional too. The Segway would relieve the weight burden of carrying that equipment for the operator.

Second, I recently spoke with Vince Pace who is, as usual, extremely busy. Pace has been given the contract to supply 3D cameras and expertise for HUGO CABRET. As part of the deal, PACE has taken delivery of the first ARRI Alexa cameras and has 23 more on the way. Yes, you read that right - Scorsese approached PACE for their expertise in shooting 3D and not necessarily their proprietary Fusion 3D cameras that were used for AVATAR. That is not to say that the Fusion cameras are not being used though. To the contrary. More on that in the next post. I am sure you will be very interested...

Very cool to see PACE being tapped for their stereoscopic expertise and not just for their cameras alone. 3ality Digital is experiencing the same industry needs of late and I have pinged them for an update as well. More when I get it!

3D Geek Alert: Photo Of A Working RED EPIC 3D RIG!!

WOW. Look at how small and maneuverable the new RED EPIC 3D set up from Element Technica is! It weighs in at just about 45 lbs and could be even less if you use EPIC-X batteries instead of the dual RED brick batteries.

If you are familiar with 3D cameras, then you know one of the major challenges is to get around the bulkiness and have flexibility to use the same camera setup for many more shots. With mirror rigs such as this one, weight comes into play a great deal. Mirror rigs are excellent for closeups because you have complete flexibility with your interocular distance settings (distance between lenses). However an issue with beam splitters is about a stop loss in light. With the EPIC however, you have high ISO to make up that difference! Looks like the best of all worlds - and looks stunning.

Of course there is also a fine alternative 3D rig for the EPIC from 3ality Digital.

You are seeing the new RED shoulder mount and handles as well.

Capabilites? How about two Epic cameras with 5K resolution for each eye!

Order a couple of EPICs if you want to stay ahead of the pack...

Want To Take S3DHD Photos With Your New Phone Camera? Could Be Here Soon!

Are we going to be getting S3DHD cameras built into our new phones soon? Could be if Sharp has anything to do with it. Sharp is tooting their own horn about producing a phone camera module that manufacturers could integrate into their designs, allowing stereoscopic 3D images at 1280x720p resolution.

Everything seems to be in order although the camera's size may put off some manufacturers. The module comes with two cameras and electronics to merge the color palette, brightness and contrast of the two "eyes".

I love how Sharp is getting deeply involved in portable S3D electronics. They also have developed their AS3D autostereoscopic (glasses-free 3D) screens.

Thanks to Matthew for the heads up!

Source: reghardware.co.uk