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Comment Re:Lytro's 3-D is inherently limited (Score 5, Interesting) 79

As long as you've got enough parallax to work out the depth information from your scene, you can push the effect to recreate viewpoints that are wider then you have real data for.

You will end up with tiny slivers of image that you don't have pixel data for when there's a foreground element that diverges more then it did before, but that's easy to recreate. All post converted 3d films have this problem to an even greater extent, there's algorithms out there to clone the surrounding pixels or even use pixels from other frames if the object is moving through the scene

There are lightfield cameras out there that instead of using a single chip, they use an array of small cameras (think cell phone cameras) The adobe one is 500 Megapixels

See the research by Todor Georgiev http://tgeorgiev.net/ The Lytro camera is a nice cheap toy, but there's some stunning results form researchers.

Comment Re:Which way will it go? (Score 2) 184

Another NZer here.

The difference in approach is that Airbus bet the farm on big planes travelling between hubs, then small (A320 sized) planes taking people to their final destination.

Boeing has bet the farm on smaller long range planes taking people exactly where they want to go.

It's going to be interesting if one of them has hit the winning formula, or if there's enough competition and different habits to support both approaches.

Comment Re:There is another issue and it is a constant one (Score 2) 180

In film land and the visual effects industry where the 2k was standard long before HDTV was invented, it' was always a measure of the horizontal pixel dimension.

It makes sense because you would start with a 2048x1536 scan from the 35mm Frame (4/3 aspect ratio) and cut off the top and bottom to reach 2048x853 2.35:1 aspect ratio seen in the cinema. These days you also work with a mask at 2048x1152 that matches the 16:9 or 1.77 aspect ratio used in HD tv.

The delivery back to the editor is often the full 4/3 frame which gives them room to rack the picture up or down per shot. This lets them frame the theatrical release and the Bluray release slightly differently, mostly in scenes where peoples heads are near the top of frame and you want control over how close they are to the edge of frame.

 

Comment Re:Creative billing (Score 1) 129

Oh that's easy, I've billed a 40 hour day before.

First 10 hours was at my desk in New Zealand, then I was put on an overnight flight to LA and billed 17 hours traveling time. Because I traveled back over the date line, I arrived before I had left. Then when I landed I spent 13 hours fixing the machine that broke on the way. Tada, 40 hours worked on Friday.

Comment Re:No it doesn't (Score 2, Interesting) 417

I've got a friend who lived in Yugoslavia when NATO attacked. NATO had these anti radar missiles, tens of thousands of dollars a pop. The Yugoslavs took old microwave ovens out into the field, rigged them to work without a door and pointed them at the sky. they would flick them on when NATO planes were reported. The plane would empty it's load of anti radar missiles and immediately turn home.

Comment Re:Steve Jobs should let Apple know that (Score 1) 373

They say it's "anonymous" here, but combined with the "unique device identifier" they already said they collect with it, you have to wonder exactly what "anonymous" means in Apple-speak.

They mean anonymous as in it isn't directly tied to your name. It's possible that is has how much you spend, what apps and websites you use, what areas you live, spend your day, shop and eat, where you go at christmas, how often you go to the hospital or what day you go grocery shopping, how fast you drive and how far each week.

They can collect an incredibly dense picture of your life, but as long as they refer to you as 155264 rather then your real name (which isn't really that useful to marketers, as any sane person would freak when they saw their name in banner ads on a website), then they can say it's anonymous

Comment Re:First post! (Score 1) 520

Apple bought a professional compositing package called Shake. It was roughly $10K a licence. They left the windows and Linux versions at $10K and made the Mac version $5K. It was pitched as, you could get a Mac workstation and a license of Shake for the cost of a license for the other platforms.

They since killed it and rolled it's useful retiming and keying bits into Final Cut.

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