CPG MaxRemote Live Stereoscopic Cameras at XGames
Cameron-Pace Group (Burbank, CA, USA) marked an historic day for 3D television at the X Games, on January, 26, 2013 where ten hours of live 3D broadcasts were produced in a single day, all of which were serviced by CPG. They provided a crew and 30 stereoscopic 3D rigs to cover six hours of live X Games events and nine additional rigs and crew to cover four hours of College Gameday live basketball.
Minhirig, a 3D Mirror rig for GoPRO cameras
Minhirig (Nogent sur Seine, France) is offering a very small and very light (2 pounds or 1Kg) 3D stereoscopic beam splitter rig for small form-factor cameras, including GoPROs, Toshiba IK HD1, IOI Flare and others. Convergence and interocular (1 to 45 mm) are manullay adjustable.
How to Synchronise Multiple GoPRO Hero2 Cameras for Multiview Shoots
Using multiple GoPRO cameras for stereoscopic or multiview shooting seems easier than ever when using the WiFi pbackpack option. Up to 50 cameras can be commanded from a single remote control (same model and same config required however).
Samsung First Single-lens 3D Camera
The Samsung NX300 45mm F1.8 2D/3D lens is claimed to be the world’s first one-lens 3D system, capable of capturing both stills and 1080p Full HD video in perfect 3D quality (Note that there was a Panasonic DMC-GH2S + H-FT012 3D lens claiming that back in 2010). Offering 20 megapixels (5472x3648 pixels) and a 3.31" (84 mm) display, the NX300 is 3D enabled thanks to a new specific 45mm 2D/3D lens pictured here under.
The NX300 once again raises the bar for compact system cameras (CSC), delivering an outstanding combination of features, functionality and style for perfect shooting in every moment. Samsung also announces the new NX 45mm F1.8 2D/3D lens, the first one-lens 3D system capable of capturing both still images and full HD movies in perfect 3D quality.
Is 120 fps the future of 3D shooting?
Even if proejction of 3D movies will stick to 60 frames/second per eye in the foreseable future, there exist many sound reasins to shoot all 3D movies (and 2D ones too) in 120 fps. The main reason is of course the ease of downconversion to various other 'legacy' frame rates such as 24 fps (for cinema), and 60 Hz (for Blu-ray).
Details of the discussion between Studiodaily and Dr. Siegfried Foessel (pictured here under), head of the Moving Picture Technologies department at the Fraunhofer Institute for Integrated Circuits (IIS) in Germany are available in this interview.
