Apple awarded $1 billion in Samsung patent case

Federal jury rules Samsung violated Apple's copyright on tablets, smartphones

By ASSOCIATED PRESS

SAN JOSE, Calif. (AP) -- After a year of scorched-earth litigation, a jury decided Friday that Samsung ripped off the innovative technology used by Apple to create its revolutionary iPhone and iPad.

The jury ordered Samsung to pay Apple $1.05 billion. An appeal is expected.

Apple Inc. filed its patent infringement lawsuit in April 2011 and engaged legions of the country's highest-paid patent lawyers to demand $2.5 billion from its top smartphone competitor. Samsung Electronics Co. fired back with its own lawsuit seeking $399 million.

During closing arguments, Apple attorney Harold McElhinny claimed Samsung was having a "crisis of design" after the 2007 launch of the iPhone, and executives with the South Korean company were determined to illegally cash in on the success of the revolutionary device.

Samsung's lawyers countered that it was simply and legally giving consumers what they want: Smart phones with big screens. They said Samsung didn't violate any of Apple's patents and further alleged innovations claimed by Apple were actually created by other companies.

Samsung has emerged as one of Apple's biggest rivals and has overtaken Apple as the leading smartphone maker.

Samsung's Galaxy line of phones run on Android, a mobile operating system that Google Inc. has given out for free to Samsung and other phone makers.

Samsung conceded that Apple makes great products but said it doesn't have a monopoly on the design of rectangle phones with rounded corners that it claimed it created.

The trial came after each side filed a blizzard of legal motions and refused advisories by U.S. District Judge Lucy Koh to settle the dispute out of court.

Deliberations by the jury of seven men and two women began Wednesday.

Samsung has sold 22.7 million smartphones and tablets that Apple claimed uses its technology. McElhinny said those devices accounted for $8.16 billion in sales since June 2010.

Apple and Samsung combined account for more than half of global smartphone sales.

As part of its lawsuit, Apple also demanded that Samsung pull its most popular cellphones and computer tablets from the U.S. market.

From the beginning, legal experts and Wall Street analysts viewed Samsung as the underdog in the case. Apple's headquarters is a mere 10 miles from the courthouse, and jurors were picked from the heart of Silicon Valley where Apple's late founder Steve Jobs is a revered technological pioneer.

While the legal and technological issues were complex, patent expert Alexander I. Poltorak previously said the case would likely boil down to whether jurors believe Samsung's products look and feel almost identical to Apple's iPhone and iPad.

To overcome that challenge at trial, Samsung's lawyers argued that many of Apple's claims of innovation were either obvious concepts or ideas stolen from Sony Corp. and others. Experts called that line of argument a high-risk strategy because of Apple's reputation as an innovator.

Apple's lawyers argued there is almost no difference between Samsung products and those of Apple, and presented internal Samsung documents they said showed it copied Apple designs. Samsung lawyers insisted that several other companies and inventors had previously developed much of the Apple technology at issue.

The U.S. trial is just the latest skirmish between the two tech giants over product designs. Previous legal battles were fought in Australia, the United Kingdom and Germany.

The U.S. case is one of some 50 lawsuits among myriad telecommunications companies jockeying for position in the burgeoning $219 billion market for smartphones and computer tablets.

A jury has ruled for Apple in its huge smartphone patent infringement case involving Samsung and ordered Samsung to pay $1.5 billion.

The verdict was reached Friday.

In its lawsuit filed last year, Apple Inc. had demanded $2.5 billion while accusing Samsung of ripping off the design technology of iPhones and iPads.

During closing arguments at the trial, Samsung attorney Charles Verhoeven called that demand ridiculous and asked the jury to award Samsung $399 million after claiming Apple used Samsung Electronics Co. technology without proper compensation.

The two companies lead the $219 billion market for smartphones and computer tablets. They are enmeshed in similar lawsuits in the United Kingdom, Germany and Australia.

Thank you Variety!
More info: www.variety.com
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VFX vet will discuss the impact of globalization and technology on the busines

VFX vet will discuss the impact of globalization and technology on the business, 2D-to-3D conversion and the role of technical standards.

Visual effects veteran Scott Ross will deliver the keynote address at the Society of Motion Picture & Television Engineers' Technical Conference & Exposition, Oct. 24-28 in Hollywood.

MPAA's Chris Dodd to Address Society of Motion Picture and Television Engineers Conference
He will discuss the current state of 2D-to-3D conversion, as well as address the combined impact of globalization and technology trends on visual effects and the role of standards in movie production.

STORY: Groundbreaking 3D Vision Eye Clinic Opens Thursday

Ross is a founder and former CEO of Digital Domain and served as the general manager of George Lucas' Industrial Light & Magic and as senior vp of LucasArts. He currently works as a professional consultant and producer and serves on the boards of multiple technology and entertainment companies.
"Effects and world-class imagery will continue to be box-office drivers worldwide," Ross said. "So it's critical for the livelihood of everyone involved along the production chain to fully understand the impact of dynamic globalization and technology trends, particularly on effects. SMPTE understands that standards can help accelerate industry growth as well as ensure U.S. competitiveness amid these trends – and that the next generation of digital tools will require the fusion of motion science and the creative vision of great storytellers."

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The New 3D Technology Behind 'Pirates of the Caribbean'...

The James Cameron and Vince Pace-created Fusion 3D camera system has a new feature that makes it easier to shoot in challenging locations.
When the production of Disney's 3D Pirates of the Caribbean: On Stranger Tides tapped the James Cameron and Vince Pace-created Fusion 3D camera system, it used for the first time what might be a promising development in that technology.

Disney's `Pirates' $346 Million Opening Fourth-Biggest Worldwide Debut Ever at Weekend Box Office
A new, modular "x frame" system is "going to be a part of almost every" Cameron-Pace supported 3D project going forward, Pace, co-chairman and CEO of Cameron-Pace Group, told The Hollywood Reporter. Going forward, that might include support for features, documentaries, episodic TV series -- and Avatar 2 and 3.
For this latest Pirates movie, director of photography Dariusz Wolski (who also lensed the three earlier Pirates films) and his team incorporated this new x frame approach into the shoot, which used the Fusion system with Red MX cameras. Production involved shooting on location in Hawaii, Puerto Rico, Los Angeles and London.
Simply put, x frame is about reducing the size of the system -- which is something that the industry as a whole is working toward when 3D gear is concerned. "They had to be able to go from studio rigs, to handheld, to Steadicam -- and had to do it in the jungle in Hawaii," Pace told THR. "In some places the road was about 3 feet wide. There was no way to bring in heavy equipment on trucks. ... We had to treat this almost as a military operation, so if they had to take equipment on a helicopter and transport it to a beach -- which they did -- they were not restricted by a large support infrastructure.
"We concentrated on reducing the size as much as possible and increasing the mobility and making the rig robust enough to handle that kind of environment," Pace explained, saying that the company is now able to configure a Fusion system that in some cases might be 30-40 percent smaller than anything it did before.
As each production has different demands, the plan going forward is to use this x frame approach to create customized Fusion systems for anything from a small movie to a tentpole. "There are so many different recording options and configurations that it's hard to create a one size fits all," Pace said. "The package that gives you good 3D and a good workflow doesn't have to be the Avatar package."
Pace sees the potential of the x frame system extending beyond features, and at some point, contributing in the young area of 3D television programming production. "Where it really starts to pay off is when you are getting into episodic television," Pace suggested. "I think (the x frame system) will migrate to that type of television work where you want to make sure your footprint is mobile and has the least amount of impact on the set."
Pace also believes this system could be useful to filmmakers who what to shoot nature documentaries. "They can bring (only) the necessary equipment."
To begin to get this system in the hands of filmmakers, the x frame technology has already been shipped to Budapest, where Fusion rigs are being used to shoot 47 Ronin.
Development of Cameron-Pace's Fusion camera system began more then a decade ago. Since then it has been used in a variety of situations, including a dive to Titanic to shoot Cameron's 3D documentary Ghosts of the Abyss and recently on location with Michael Bay on the upcoming Transformers: Dark of the Moon.

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3Ality Digital to Show New Tech at NAB That Will Make 3D Productions More Cost-E

CEO Steve Schklair also is testing its use for network series.

LAS VEGAS -- 3Ality Digital-whose 3D production technology is currently being used on The Hobbit and The Amazing Spider-man -- is demonstrating new, automated technologies designed to make 3D production work more cost effective at the NAB Show currently taking place in Las Vegas.
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James Cameron, Vince Pace to Reveal New Business Model for 3D Broadcasting
While it is aiming to create a new business model, 3Ality also revealed that while the industry has been heavily focused on sports coverage in the area of TV production, it also completed a test for a 3D network series.

3Ality CEO Steve Schklair believes the 2D and 3D broadcast infrastructure needs to be combined, suggesting that a 15-20% premium over 2D seems to be a premium that could support a business model for live 3D events coverage.

"Now it is 120% because you have a separate crew," he said. "It has to be a combined broadcast."
He suggested that a 10-20% premium over 2D for episodic series seems to a sweet spot.
"We are having episodic discussions," Schklair told The Hollywood Reporter, emphasizing that it is essential to meet not just the budget, but the 2D schedule. "We just completed a test for a major network episodic show."
"They did the test as a hard-core budget test," said 3Ality's Lucas Wilson. "They are getting into the budgeting process."
The new 3Ality products that will be displayed at NAB include IntelleCal, designed to automatically align two cameras on a stereo rig, without the intervention of a technician; and IntelleCam, designed to automatically control the convergence and the interaxial spacing of the cameras, without the need for a separate convergence puller at each rig.
"Typically there is one convergence operator per camera. If there are 12 cameras, that's 12 people," Schklair said. "If you eliminate these roles (including hotel, airfare, etc.), maybe you are cutting $80,000-100,000 (on a live production). That is a big number toward making a business case that works."

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Le bout de plastique qui va révolutionner l'électronique

Le bout de plastique qui va révolutionner l'électronique

Il suffisait d'y penser, une société française l'a fait : le panneau solaire transparent

Par CLÉMENT PÉTREAULT
source:http://www.lepoint.f

C'est une petite avancée technologique qui pourrait donner lieu à un véritable bond en avant. La société française Wysips a mis au point un film photovoltaïque souple et transparent, capable de recharger un téléphone portable à la lumière du jour. La démonstration a été faite avec un smartphone, mais n'importe quelle surface peut être habillée de ce film souple. Une fenêtre, une façade, une voiture ou encore un ordinateur peuvent ainsi transformer la lumière en énergie pour un coût raisonnable. Une fois développée, cette technologie pourrait intégrer des tissus qui deviendraient, eux aussi, capables de produire de l'énergie. Le rendement énergétique est d'environ 10 % (soit 100 watts par mètre carré). C'est environ 30 % de moins qu'un panneau photovoltaïque classique que l'on retrouve sur les toitures.

Six heures pour recharger pleinement la batterie

Un prototype de téléphone équipé de ce film vient d'être dévoilé. Les démonstrations ont prouvé que le film, épais de 0,1 mm, ne venait pas perturber les capacités tactiles des appareils. En l'état actuel de la technologie, le système ne permet pas de recharger intégralement la batterie de ce téléphone (6 heures en plein soleil pour une recharge complète, c'est long), mais l'autonomie de l'appareil est largement améliorée. La révolution est en marche.

"Nous venons de finaliser un premier prototype et, d'ici à six mois, nous fabriquerons les premières unités en série. Comme nous sommes sur un modèle de licence non exclusive, à terme nos technologies seront accessibles à tous les fabricants", explique Ludovic Deblois au Point.fr. Ces modules solaires permettront de ne pas augmenter la taille des batteries des smartphones, qui ne seront, a priori, jamais en panne. Les pays en voie de développement sont aussi un coeur de cible privilégié pour la société française. Wysips prévoit de vendre chaque film pour moins d'un euro aux fabricants d'électronique. Un prix modique au regard du progrès accompli.

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Digital Cinema Displaying Rapid Global Growth...

Texas Instruments reports that there have been more DLP Cinema projectors installed worldwide in the last 12 months than in the last 12 years.
Nearly one-half of the world's theater screens will be digital using DLP Cinema technology by the end of this year, predicted Texas Instruments, as CinemaCon kicked off in Las Vegas.
Also on Monday, TI -- whose DLP Cinema technology is behind digital cinema projectors made by Barco, Christie and NEC -- reported that there have been more DLP Cinema projectors installed worldwide in the last 12 months than in the last 12 years. In 1999, Star Wars Episode I: The Phantom Menace, An Ideal Husband and Tarzan were first few movies to be screened digitally for paying audiences, launching the transition.
"Although the digital conversion was steady for the first 10 years, 2010 will be noted as a milestone in digital cinema history, as the number of DLP Cinema projectors nearly doubled in one year," said Dave Duncan, manager of DLP Cinema for Texas Instruments. "Together with our partners, nearly one-half of the world's theater screens will be converted to DLP Cinema by the end of 2011."
TI reported that in the period between March 2, 2010, and March 2, 2011, the number of DLP Cinema screens showing 2D Hollywood content worldwide grew 101% from 16,446 to a total of 33,110, and 128% for 3D Hollywood content, rising from 9,758 to 22,287. These counts do not include IMAX's digital installations that also use DLP Cinema technology, which separately grew from 155 to 296 screens during the same period.
According to TI, Latin America saw the highest amounts of growth during that 12-month timeframe, with 1,743 total DLP Cinema screens, a 187% increase, playing 2D Hollywood content; and 1,702 screens, a 184% increase, showing 3D.
In Europe, the Middle East, and Africa, the number of DLP Cinema installations rose to 11,428 (136% change) and 8,686 (136% change) for displaying 2D and 3D Hollywood content respectively. The Asia Pacific region saw a 118% increase to 8,343 screens for 2D Hollywood content, and a 142% increase to 5,447 screens for 3D.

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