a. 2x HDC-SD9 uncompressed HDMI 4:2:2

b. JVC GY-HM100 uncompressed HDMI 4:2:2

and

a. Linovision HDC-VEC876PF http://linovision.en.alibaba.com/product/529618464-213194157/Wholesale_Full_HD_1080P_2_3_2_0_Megapixel_KODAK_CCD_HD_SDI_camera_HDC_VEC876PF.html

b. Tauri - HD 02150 SDI http://www.kappa.de/en/camfinder/Tauri-HD_02150_SDI_Color%20%20.html?p=1

I think the Linovision is the same as this one - for its specs. http://www.worldeyecam.com/store/imax-hdsdi-hf3211p-2-3-2.0-megapixel-kodak-ccd-full-hd-box-camera.html or this one http://icrealtime.com/solutions/pdshowg.asp?pdid=HDSDICAMERA

This agency only accepts Broadcast quality 422.

Got me thinking, so I fired up Cinema4d and went to work.

What if I make a Material texture out of the video and put it on a 1920x1080 rectangle...

A material can have dozens of channels.

I used these channels color, luminance, specular color... each with the video loaded into that channel.

Next, I changed the exposure and HDR gamma on each channel like a bracketed shot -1,0,+1

Then I added a bump channel with the video as texture and applied a tiny amount(1m)

To really add something extra I applied ambient occlusion on the render.

You can add lens flares and make the highlights stand out and apply DOF effects.

The skies the limit.... and your CPU power.

Oh.... my 10 second clip took 3 hours to render.

The 3D-printable OpenReflex camera body.

I guess, though, we won't see a 3D-printable lens anytime soon, and probably no 3D-printable digital camera before analog film is out-of-stock.

For Immediate Release, June 21th, 2013 – Ripley’s Believe it or Not! in St. Augustine, Florida, will premiere “Ripley’s Anomaly” in its new 3D theater on Friday, June 21st. The ground breaking documentary follows Jack Kassewitz and his team during their three day scientific investigation of Ripley’s historic Castle Warden, the scene of disturbing events since the mysterious and deadly fire of 1944.

Kim Kiff, General Manager of Ripley’s Believe it or Not! St. Augustine, said, “We invited the Anomaly team to investigate the voices and disembodied shadows that visitors to Castle Warden have reported for decades. I was stunned by what they captured on camera. Watching the film in 3D and then touring the building is like watching Jaws and going for a night swim.”

The first-of-its-kind film employs 3D night vision cameras built specifically for the Castle Warden investigation, ultra-sensitive research microphones, and a host of sensors. “We had heard that Castle Warden was haunted,” said the film’s producer Michael Watchulonis. “By the third night in the building, even the skeptics on our crew didn’t want to go into the Vortex Room alone. When you see the attack on our Native American investigator and hear the voices we recorded, you won’t either.”

Research scientist and accomplished journalist Jack Kasswitiz lead the investigation in Castle Warden and the building’s five reported hotspots of paranormal activity. The team focused on the suspicious “Mr. X”, a man who is theorized to have set the fire that killed two women. Kassewitz also tested other investigators’ claims of extreme paranormal activity. “There is no doubt that Castle Warden is the most active site we’ve ever investigated,” said Kassewitz. “Even with thirty years of research experience, I simply cannot explain what we documented in Castle Warden.”

Guests can purchase tickets to the 3D film beginning Friday, June 21st. Shows begin nightly at 7:00 PM and run every 30 minutes until 10:00 PM. Tickets can be purchased from any Ripley’s or Red Train Tour ticket outlet.

http://www.engadget.com/2013/06/18/next3d-recorded-video-plans-oculus-rift-virtual-reality/

The author does a better job than I can of explaining what we're up to.

Regards,

David Cole Next3D

While a standard camera takes flat, 2-D pictures physicists from Heriot-Watt University obtain 3-D information, such as the distance to a far-away object, by bouncing a laser beam off the object and measuring how long it takes the light to travel back to a detector. The technique is called time-of-flight (ToF), and is already used in automative vehicle vision navigation systems and other applications.

The new system works by sweeping a low-power infrared laser beam rapidly over an object. It then records, pixel-by-pixel, the round-trip flight time of the photons in the beam as they bounce off the object and arrive back at the source. The system can resolve depth on the millimetre scale over long distances using a detector that can ‘count’ individual photons. Lots of applications are planned for the technology.

Pictured below: 3-D images of two of the Optics Express authors, taken in daylight from 910m away. Each standard photograph shows a close-up view of what the scanner sees. The middle left panels show 3-D images with slightly more depth detail that the right-hand panels; this is because the detector spent more time collecting the returning photons for the images on the left than on the right. Credit: Optics Express.

http://www.hw.ac.uk/news-events/news/new-camera-system-creates-high-resolution-3-d-11809.htm

From their site:

"It's not a conventional camera, but it's like a camera - particularly when it comes to learning curve and ease of use. If you can use a point-and-shoot Nikon, you'll find the Lynx even easier to use. Instead of outputting 2D images, it produces 3D models of whatever you point it at. It's faster and cheaper than existing solutions today. "

" The Object Modeling feature lets you capture detailed models of real objects. The models are accurate to below a centimeter, full-color, and to scale. Export as .obj, .stl, or .ply."

http://lynxlaboratories.com/aboutLynxA.php

http://www.gizmag.com/lynx-a-3d-modeling-camera/26149/

Panasonic Corp developed a 2.1-Mpixel CMOS image sensor for camera systems capable of taking 3D movie with a single lens and announced it at ISSCC 2013

For taking 3D video, it is necessary to separate light into light entering the left eye and light entering the right eye and to make sure that the two types of lights come to different pixels of the CMOS sensor. To realize this, Panasonic employed a structure that combines a lenticular lens and mirror elements (digital micro lenses: DMLs) made by forming patterns whose size is smaller than light wavelength with a lithography technology.

Via: http://techon.nikkeibp.co.jp/english/NEWS_EN/20130223/267691/

3D Rig:

Shoulder Rig:

Test video 1:

1080p60, Narrow FOV, Protune, CamRAW WB

Neat Video, Magic Bullet Looks, a little Shadow/Highlight to recover the clouds

Here's a frame without 3D for reference:

Gotta say, I LOVE the dynamic range on these cameras! Unless you're shooting something really dark, all but the brightest highlights (ie. the sun) can almost always be recovered in post. There doesn't seem to be much of an issue recovering shadows under most conditions, either. Of course, you'll need to use noise reduction on more serious shadow lifting. I find Neat Video invaluable for heavy processing, as it will remove blocking on smooth areas once you start pushing the limits.

Rig Setup:

Pretty simple, actually. For the 3D part, I got a pair of macro sliders, tore off the rubber surface grip for the bottom piece, removed one of the mounts for use as the top piece, used a 1/4-20 hex standoff to link them together, and slid the GoPros inside. The tension holds them in place perfectly, and the gap from no grip lets me perfectly align the cameras in parallel. The only downfall of this one is that things 5ft or closer tend to hurt the 3D effect, since the lenses are spaced around 3" or so apart. If you're focusing on a subject further back, close objects will look quite a bit off. Same with close subjects, things behind him will be off. After about 5ft, though, everything is fine. I'll be making a more sophisticated and lightweight setup soon, which will allow me to invert one of the cameras to get the lenses much closer.

For the shoulder rig, it's just a Cavision shoulder pad with some 15,000mah USB batteries gaffer taped to a flat section of a flash bracket, screwed into one of the holes in the back. I have a Swivi monitor up front with the 3D rig mounted onto it. It's really lightweight, but I definitely need something more in back to balance it better.

As far as battery life, I left the GoPros running for 6hrs straight. I was able to monitor the battery life through the Swivi's meter, and after that time period, even with the Swivi on, I only used about half the battery. So I should hopefully be able to get around 12 hrs max from that setup.

Here's my Red/Blue workflow:

As far as syncing the left and right, I've found that they're usually about 2 frames off. I try to find and event that is easy to spot on both cameras (subject just passing in front/behind something, light turning on, etc.) to do an easy sync. If that doesn't work, Pluraleyes has no problem matching them up.

Once that's done, I color correct and grade, then apply the 3D Glasses effect in AE. Using the Difference mode, I can align the frames and set keyframes, so the focus can follow the subject no matter where he moves. Then set Keframe Interpolation to smooth the transitions. It's tedious, but the effect is worth it.

Finally, I'll set to Balanced Colored Red Blue and adjust the Red/Blue balance to reduce/eliminate ghosting, scale up to get rid of the edges (aligning will throw them off), and export.

And for Side by Side:

A lot of it is the same, though I seem to have issues with the 3D Glasses effect in Stereo Pair leaving lots of empty space around each frame, and you can't scale each side up individually to fill it. To get around that, I set everything up in the 3D Glasses effect, then export the left and right sides individually. This aligns them properly from the start, so I can get around the empty space issue. Then I do correction and grading, and put them into a double-wide frame next to each other (3840x1080) to get the side by side 3D. YouTube doesn't seem to have a problem with this, though I'm not sure if it would be compatible with any place else.

In the end, it's not really much more work, just more time waiting for it to encode, and with the double wide setup, you get true 1080p 3D.

A note about Premiere/After Effects and 5DtoRGB:

Both Adobe programs will crush the highlights and shadows a bit, at least in Protune. Running the video through 5DtoRGB first will prevent this from happening. It'll also create a much higher quality file than converting through Cineform Studio, since it interpolates color, reducing blocking artifacts. Plus, you can reverse the Cinestyle curve while converting if you want. 5DtoRGB also makes the reds look redder, instead of the slight orange cast they seem to have.

Netflix (NFLX) on Tuesday announced new enhanced streaming options for users on select ISPs. Following a series of rumors that suggested as much, Netflix has confirmed the availability of “Super HD” streaming — which is simply Netflix’s branding for 1080p content — and 3D video streaming. Both services are available immediately with a huge caveat: only Netflix subscribers with Cablevision or Google Fiber Internet service have access to the new content. For those lucky subscribers, Super HD and 3D content is accessible using a number of devices including the Wii U, compatible Roku players, the Apple TV, Windows 8 PCs and select smart TVs and Blu-ray players.

http://www.siliconrepublic.com/new-media/item/30946-2013ces-netflix-to/

Longer presentation about live 3D video - http://nvidia.fullviewmedia.com/gtc2012/0516-A1-S0335.html

http://www.personal-view.com/photokina/blogs/caleb-genheimer

Price: $1250

http://www.ebay.com/itm/3D-Camera-Rig-Robert-Rig-Half-Price-Near-Mint-Demo-Model-/290790504347

So suggest to check present line of LG 3D monitors (all modern are passive now, except two high end that are glasses free):

http://www.ebay.com/sch/i.html?_sop=16&_fcid=168&gbr=1&_sacat=0&_nkw=LG+3D+monitor&_clu=2&LH_PrefLoc=2&rt=nc

Some are cheap TN bases, some are MVA, some very good IPS. With sizes from 23" to 27". And some are actually more like TV, with full tuner and build in player capabilities, common to any modern LG TV set.

Good IPS based 27", like DM2752D, is all you need for everyday amateur work with 3D footage.

Has anyone used and tried any of these lenses? Does the Loreo even fit on the GH2? I'd like to use them in video-mode, do they project side-by-side full or half frame?

ps: Because of timelapse use I don't mind that they are both very slow lenses!

Many people argue that if you want a film in stereo you should shoot it in stereo. Yet many filmmakers do not want the physical size of an on set stereo rig, or they prefer to shoot film (ruling out stereo in camera, effectively) or want to use anamorphic lenses which are extremely difficult for stereo native capture. Even on a stereo film, lenses and situations often times render a single camera the only viable solution. Thus, even on films shot in stereo there may well be a need to convert some footage and that high quality conversion is an important tool in the box of any effects house.

Read the rest at: http://www.fxguide.com/featured/art-of-stereo-conversion-2d-to-3d-2012/

The reality is... small 3D screens are a novelty (like a cracker-jack lenticular print). The compelling use-case for stereoscopic 3D for entertainment is immersion (for movies, TV, games). It's hard to feel immersed in an image on a 4" screen.

They have many interesting 3D related stuff at this conference, most videos is free to watch.

http://www.amazon.com/exec/obidos/ASIN/0786468246

There is a new article in Wired, about the way that "The Hobbit" is expected to change the way we see movies, especially since it is based on 48p and 3D.

http://www.wired.com/geekdad/2012/04/the-hobbit-movie-going-experience/

Here's a nice quote: "A huge challenge across the board is the volume of data that is required for HFRs. Oatley reported that for The Hobbit production shoots 6-12TB of camera data per day. And the shooting schedule (for both parts of the two-part film) involves 265 days of principal photography."

And it is rumored that James Cameron will shoot 48p3D for "Avatar II."

The Best Glasses-Free 3D for Any Device

Dolby® 3D is a suite of technologies developed by Dolby and Philips® that is applied to both 3D content and displays. It provides viewers with easy, exciting, customizable 3D viewing:

Delivers a spectacular, vivid, and clear 3D picture

Works on any 3D TV, tablet, laptop, or smartphone

Automatically optimizes 3D content for the specific device and screen size

Upgrades half-resolution to full-resolution 3D (for both glasses-free and traditional glasses-based 3D)

Lets viewers sit anywhere in the room for great 3D, rather than in one small area (CUT)

http://www.dolby.com/us/en/professional/technology/dolby-3d-glasses-free-3d-on-devices.html

I have a very technical question directed toward those of you who use your GH2 to shoot video for CG and Match-Moved VFX.

When I need to camera track and/or camera project in Nuke or Maya, it is best to put it in the 35mm equivalent focal length of the lens. This is pretty simple with the GH2 since the focal length is just twice the focal length of the lens. EXCEPT, what happens when you shoot in Ex-Tele-Convert mode?

On the one hand the amount of lens distortion seems like it would be the same because the camera's just cutting into the image exposed on the sensor. On the other, It just doesn't seem right that that I should be putting in say, 180mm when the recorded image does not match a 180mm image.

Anybody have some insight into this?

Thanks for any help.