On “Avatar,” the vfx team at Weta couldn’t directly import the “template” footage that came from the virtual shoot. Instead, they’d have to re-create the digital scenes and characters from scratch. On the sequels, Weta will be able to bring that template in as a low-res version of the scene and start working on upgrading the image without having to start over.
OpenColorIO (OCIO) is a new open source project from Sony Imageworks.
Based on development started in 2003, OCIO enables color transforms and image display to be handled in a consistent manner across multiple graphics applications. Unlike other color management solutions, OCIO is geared towards motion-picture post production, with an emphasis on visual effects and animation color pipelines.
FabFi is an open-source, FabLab-grown system using common building materials and off-the-shelf electronics to transmit wireless ethernet signals across distances of up to several miles. With Fabfi, communities can build their own wireless networks to gain high-speed internet connectivity—thus enabling them to access online educational, medical, and other resources.
slowmoVideo is an OpenSource program that creates slow-motion videos from your footage.
Slow motion cinematography is the result of playing back frames for a longer duration than they were exposed. For example, if you expose 240 frames of film in one second, then play them back at 24 fps, the resulting movie is 10 times longer (slower) than the original filmed event….
Film cameras are relatively simple mechanical devices that allow you to crank up the speed to whatever rate the shutter and pull-down mechanism allow. Some film cameras can operate at 2,500 fps or higher (although film shot in these cameras often needs some readjustment in postproduction). Video, on the other hand, is always captured, recorded, and played back at a fixed rate, with a current limit around 60fps. This makes extreme slow motion effects harder to achieve (and less elegant) on video, because slowing down the video results in each frame held still on the screen for a long time, whereas with high-frame-rate film there are plenty of frames to fill the longer durations of time. On video, the slow motion effect is more like a slide show than smooth, continuous motion.
One obvious solution is to shoot film at high speed, then transfer it to video (a case where film still has a clear advantage, sorry George). Another possibility is to cross dissolve or blur from one frame to the next. This adds a smooth transition from one still frame to the next. The blur reduces the sharpness of the image, and compared to slowing down images shot at a high frame rate, this is somewhat of a cheat. However, there isn’t much you can do about it until video can be recorded at much higher rates. Of course, many film cameras can’t shoot at high frame rates either, so the whole super-slow-motion endeavor is somewhat specialized no matter what medium you are using. (There are some high speed digital cameras available now that allow you to capture lots of digital frames directly to your computer, so technology is starting to catch up with film. However, this feature isn’t going to appear in consumer camcorders any time soon.)
MeshLab is an open source, portable, and extensible system for the processing and editing of unstructured 3D triangular meshes. The system is aimed to help the processing of the typical not-so-small unstructured models arising in 3D scanning, providing a set of tools for editing, cleaning, healing, inspecting, rendering and converting this kind of meshes.
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