NBCUni 9.5.23

Category Archives: HPA

HPA Tech Retreat 2024: Networking and Tech in the Desert

By Randi Altman

Late last month, many of the smartest brains in production and post descended on the Westin Rancho Mirage Golf Resort & Spa in Palm Springs for the annual HPA Tech Retreat. This conference is built for learning and networking; it’s what it does best, and it starts early. The days begin with over 30 breakfast roundtables, where hosts dig into topics — such as “Using AI/ML for Media Content Creation” and “Apprenticeship and the Future of Post” — while the people at their table dig in to eggs and coffee.

Corridor Digital’s Niko Pueringer

The day then kicks further into gear with sessions; coffee breaks inserted for more mingling; more sessions; networking lunches; a small exhibit floor; drinks while checking out the tools; dinners, including Fiesta Night and food trucks; and, of course, a bowling party… all designed to get you to talk to people you might not know and build relationships.

It’s hard to explain just how valuable this event is for those who attend, speak and exhibit. Along with Corridor Digital’s Niko Pueringer talking AI as well as the panel of creatives who worked on Postcard from Earth for the Las Vegas Sphere, one of my personal favorites was the yearly Women in Post lunch. Introduced by Fox’s Payton List, the panel was moderated by Rosanna Marino of IDC LA and featured Daphne Dentz from Warner Bros. Discovery Content Creative Services, Katie Hinsen from Marvel and Kylee Peña from Adobe. The group talked about the changing “landscape of workplace dynamics influenced by #metoo, the arrival of Gen Z into the workforce and the ongoing impact of the COVID pandemic.” It was great. The panelists were open, honest and funny. A definite highlight of the conference.

We reached out to just a few folks to get their thoughts on the event:

Light Iron’s Liam Ford
My favorite session by far was the second half of the Tuesday Supersession. Getting an in-depth walk-through of how AI is currently being used to create content was truly eye-opening. Not only did we get exposed to a variety of tools that I’ve never even heard of before, but we were given insights on what the generative AI components were actually doing to create these images, and that shed a lot of light on where the potential growth and innovation in this process is likely to be concentrated.

I also want to give a shoutout to the great talk by Charles Poynton on what quantum dots actually are. I feel like we’ve been throwing this term around a lot over the last year or two, and few people, if any, knew how the technology was constructed at a base layer.

Charles Poynton

Finally, my general takeaway was that we’re heading into a bit of a Wild West over the next three years.  Not only is AI going to change a lot of workflows, and in ways we haven’t come close to predicting yet, but the basic business model of the film industry itself is on the ropes. Everyone’s going to have to start thinking outside the box very seriously to survive the coming disruption.

Imax’s Greg Ciaccio
Each year, the HPA Tech Retreat program features cutting-edge technology and related implementation. This year, the bench of immensely talented AI experts stole the show.  Year after year, I’m impressed with the practical use cases shown using these new technologies. AI benefits are far-reaching, but generative AI piqued my interest most, especially in the area of image enhancement. Instead of traditional pixel up-rezing, AI image enhancements can use learned images to embellish artists’ work, which can iteratively be sent back and forth to achieve the desired intent.

It’s all about networking at the Tech Retreat.

3 Ball Media Group’s Neil Coleman
While the concern about artificial intelligence was palpable in the room, it was the potential in the tools that was most exciting. We are already putting Topaz Labs Video AI into use in our post workflow, but the conversations are what spark the most discovery. Discussing needs and challenges with other attendees at lunch led to options that we hadn’t considered when trying to get footage from field back to post. It’s the people that make this conference so compelling.

IDC’s Rosanna Marino
It’s always a good idea to hear the invited professionals’ perspectives, knowledge and experience. However, I must say that the 2024 HPA Tech Retreat was outstanding. Every panel, every event was important and relevant. In addition to all the knowledge and information taken away, the networking and bonding was also exceptional.

Picture Shop colorist Tim Stipan talks about working on the Vegas Sphere.

I am grateful to have attended the entire event this year. I would have really missed out otherwise. The variation of topics and how they all came together was extraordinary. The number of attendees gave it a real community feel.

IDC’s Mike Tosti
The HPA Tech Retreat allows you to catch up on what your peers are doing in the industry and where the pitfalls may lie.

AI has come a long way in the last year, and it is time we start learning it and embracing it, as it is only going to get better and more prevalent. There were some really compelling demonstrations during the afternoon of Supersession.


Randi Altman is the founder and editor-in-chief of postPerspective. She has been covering production and post production for more than 25 years. 

Colorfront’s New SDR to-Dolby Vision HDR Conversion Process

At the 2024 HPA Tech Retreat at the end of last month, Colorfront demo’d the Colorfront Engine’s new Dolby Vision conversion capability. The conversion process not only transitions SDR to Dolby Vision HDR but also produces unique Dolby Vision metadata, guaranteeing that the Dolby-derived SDR output visually matches the original SDR content. This round-tripping method presents a unified, streamlined, single-source workflow for mastering and distribution.

The Colorfront Engine now allows users to seamlessly upgrade extensive SDR content libraries to the Dolby Vision HDR format, addressing the surge in HDR-ready displays and devices with a straightforward, time-efficient and cost-effective solution.

“This Dolby-specific version of the Colorfront Engine has been developed to facilitate a seamless conversion from SDR to Dolby Vision HDR with perfect round-tripping,” says Colorfront’s Mark Jaszberenyi. “It’s already shipping and has received feedback from content owners, studios, OTTs and streamers for its ability to maintain fidelity to the original SDR content while offering a premium HDR viewing experience.”

Mark Jaszberenyi

Why is this important for our industry? Jaszberenyi says, “The transition from SDR to HDR aims to enhance visual experiences with improved brightness, contrast and colors. Despite this shift, a significant volume of content and many viewing environments remain SDR-based. The Dolby Vision SDR round-trip solution is vital, as it enables the conversion of original SDR libraries to HDR, incorporating Dolby Vision metadata that aligns with the original content.” He says this process ensures that content is remastered for Dolby Vision HDR viewing while preserving the integrity of the SDR original, all within a single Dolby Vision master file. Importantly, this solution helps content owners and distributors maximize the value of their existing SDR libraries by making them accessible to a wider audience with HDR-capable devices.”

Content owners and distributors can use this solution to produce and deliver content across various devices and viewing conditions. “It facilitates the display of stunning HDR content on HDR-capable devices, ensuring an optimal viewing experience,” according to Jaszberenyi, adding that it also guarantees that the SDR version, derived from HDR content through the Dolby Vision round-tripping process, closely matches the original SDR master.

How does it work from a user perspective? The conversion process balances automation with the option for manual intervention, starting with the transformation of original SDR content into HDR. “This is followed by generating unique Dolby Vision metadata for a seamless SDR conversion,” says Jaszberenyi. “Mastering professionals have the flexibility to fine-tune the Dolby Vision conversion tool based on the specific attributes of the content, ensuring a workflow that not only respects but enhances the creative vision. Importantly, this process is designed to be scalable; it can automatically convert vast amounts of content with ease, whether on-premises or in the cloud, making it a versatile solution for content libraries of any size.”

 

 

 

 

NBCUni 9.5.23
HPA Awards

HPA Awards Celebrate Creative Category Winners

Held at the Television Academy’s Wolf Theatre, the HPA Awards paid tribute to the creative contributions of the post production industry, honoring work in color grading, sound, editing, restoration and visual effects for theatrical features, commercials and episodics. The HPA also presented the HPA Judges’ Award for Creativity and Innovation for the Las Vegas Sphere and recognized the previously announced winners of the Engineering Excellence awards.

To acknowledge the heart, spirit and difficulties of the past year, the evening included an HPA-produced short film, Tribute to Post, saluting the members of the post community. Directed by Clyde Bessey of Origin Point, the short features commentary from many industry mainstays, including Wendy Aylsworth; Jill Bogdanowicz; Mike Brodersen; Larry Chernoff; Nikki Jee; Rob Legato, ASC; Loren Nielsen; Sabrina Plisco, ACE; Leon Silverman; and Mandy Walker, ASC, ACS.

The winners of the 2023 HPA Awards Creative Categories are:

Outstanding Color Grading – Live Action Theatrical Feature

“Barbie”

Yvan Lucas // Company 3

 

“The Fabelmans”

Michael Hatzer // Picture Shop

 

“Asteroid City”

Gareth Spensley // Company 3

 

“Oppenheimer”

Kostas Theodosiou, Kristen Zimmerman // FotoKem

 

“Tár”

Tim Masick // Company 3

 

Outstanding Color Grading – Animated Theatrical Feature

“Elemental”

Susan Brunig // Pixar Animation Studios

 

“The Super Mario Bros. Movie”

Jason Hanel // Company 3

 

“Spider-Man: Across the Spider-Verse”

Natasha Leonnet // Picture Shop

 

“Teenage Mutant Ninja Turtles: Mutant Mayhem”

Mitch Paulson // Company 3

 

Outstanding Color Grading – Live Action Episode or Non-Theatrical Feature

“Swarm – Stung”

Alastor Pan Arnold // Keep Me Posted

 

“Winning Time: The Rise of the Lakers Dynasty – One Ring Don’t Make a Dynasty”

Walter Volpatto // Company 3

 

“American Gigolo – Pilot”

Shane Harris // Picture Shop

 

“Great Expectations – Episode 2”

Toby Tomkins // Harbor

 

“Wednesday – Wednesday’s Child Is Full of Woe”

Siggy Ferstl// Company 3

 

Outstanding Color Grading – Documentary

“Descendant”

Sam Daley // Light Iron

 

“Bono & The Edge: A Sort of Homecoming with Dave Letterman”

Taylor Black // Apache

 

“Still: A Michael J. Fox Movie”

Stefan Sonnenfeld, Adam Nazarenko // Company 3

 

“Chimp Empire – Paradise”

Blair Wallace // Evolutions Post Production

 

“Shaq – From Shaquille to Shaq”

Taylor Black // Apache

 

Outstanding Color Grading – Commercial

Zara – “Man SS23 Studio Collection”

Tim Masick // Company 3

 

Levi’s – “One Fair Exchange in the Greatest Story Ever Worn”

Sofie Borup // Company 3

 

Expedia – “Wisdom & Obi”

Mark Gethin // Trafik

 

Duracell x Williams Racing – “Scream”

Tyler Roth // Company 3

 

Belvedere – “Daniel Craig”

Matthieu Toullet // Company 3

 

Outstanding Editing – Theatrical Feature

“Barbie”

Nick Houy, ACE

 

“Mission: Impossible – Dead Reckoning Part One”

HPA AwardsEddie Hamilton, ACE

 

“Oppenheimer”

Jennifer Lame, ACE

 

“Spider-Man: Across the Spider-Verse”

Michael Andrews, ACE

 

“Tár”

Monika Willi

 

Outstanding Editing – Episode or Non-Theatrical Feature (30 Minutes and Under)

“The Righteous Gemstones – Burn for Burn, Wound for Wound, Stripe for Stripe”

Justin Bourret, ACE

 

“Barry – it takes a psycho”

Franky Guttman, ACE

 

“What We Do in the Shadows – Local News”

A.J. Dickerson, ACE, Thomas Calderón

 

Barry Editor Ali Greer, ACE, with other winners

“Barry – a nice meal”

Ali Greer, ACE

 

“How To With John Wilson – How To Watch Birds”

Cori Wapnowska

 

Outstanding Editing – Episode or Non-Theatrical Feature (Over 30 Minutes)

“The Last of Us – Endure and Survive”

Timothy A. Good, ACE, Emily Mendez

 

“White House Plumbers – The Beverly Hills Burglary”

Erick Fefferman, Roger Nygard

 

“Succession – With Open Eyes”

Ken Eluto, ACE

 

“The White Lotus – Arrivederci”

John M. Valerio, ACE

 

“White House Plumbers – True Believers”

Grady Cooper, Jon Merchen

 

Outstanding Editing – Documentary

“100 Foot Wave – Lost at Sea”

Alex Keipper, Alex Bayer

 

“A Tree of Life: The Pittsburgh Synagogue Shooting”

Eric Schuman

 

“Being Mary Tyler Moore”

Mariah Rehmet

 

“Branson – Episode 2, Atlantic”

Paul Trewartha

HPA Awards

“Moonage Daydream”

Brett Morgen

 

Outstanding Sound – Theatrical Feature 

“Barbie”

Ai-Ling Lee, Kevin O’Connell, Dan Kenyon // Warner Bros. Post Production Services

 

“Guillermo del Toro’s Pinocchio”

Scott Gershin, Chris Richardson, Masanobu ‘Tomi’ Tomita, Andrew Vernon, Dan Gamache // Sound Lab a Keywords Studio

 

“Creed III”

Aaron Glascock, Tom Ozanich, Walter Spencer, Curt Schulkey // Warner Bros. Post Production Services

 

“John Wick: Chapter 4”

Mark Stoeckinger, Andy Koyama, Casey Genton, Alan Rankin, Manfred Banach // Formosa Group

 

“Puss in Boots: The Last Wish”

Jason W. Jennings, Julian Slater, Greg P. Russell, Paul Pirola, Ken McGill, Mia Stewart // Warner Bros. Post Production Services

 

Outstanding Sound – Episode or Non-Theatrical Feature

“Star Trek: Picard – The Last Generation”

Matthew E. Taylor, Michael Schapiro, Todd Grace, Ed Carr III, Ian Shedd // Warner Bros. Post Production Services

 

“The Last of Us – Infected”

Michael Benavente, Marc Fishman, Kevin Roache, Chris Terhune, Chris Battaglia // Formosa Group

 

“Barry – it takes a psycho”

Sean Heissinger, Matthew E. Taylor, John Creed, Rickley Dumm // Warner Bros. Post Production Services

Elmo Ponsdomenech, Teddy Salas // Sony Pictures Entertainment

 

“Wednesday – A Murder of Woes”

Mike Baskerville, Jamie Sulek, John Loranger, Alastair Gray, Dan Sexton // Company 3

 

“Star Trek: Strange New Worlds – Hegemony”

Matthew E. Taylor, Michael Schapiro, Todd Grace, Ed Carr III, Sean Heissinger // Warner Bros. Post Production Services

 

Outstanding Sound – Documentary

“32 Sounds”

Mark Mangini, Robert Kellough, Eliza Paley, Joanna Fang, Blake Collins // Formosa Group

 

“A Tree of Life: The Pittsburgh Synagogue Shooting”

Daniel Timmons // Harbor Sound

 

“Good Night Oppy”

Mark Mangini, Dave Whitehead, Tim Walston, Dave Bach, Angela Claverie // Formosa Group

 

“If These Walls Could Sing”

George Foulgham, Philip Moroz, Alex Gibson, Tom Verstappen, Miles Sullivan // George Foulgham Soundscapes

 

“Moonage Daydream”

Nina Hartstone, David Giammarco, John Warhurst, Paul Massey // Public Road Productions

 

Outstanding Visual Effects – Live Action Feature

“Avatar: The Way of Water”

Christopher Egden, Nick Epstein, Wayne Stables, Pavani Rao Boddapati, Sergei Nevshupov // Wētā FX

 

“Guillermo del Toro’s Pinocchio”

Aaron Weintraub, Jeffrey Schaper, Cameron Carson, Emma Gorbey, Warren Lawtey // MPC

 

“Guardians of the Galaxy Vol. 3”

Guy Williams, Daniel Macarin, Mike Cozens, Mark Smith, Marvyn Young // Wētā FX

 

“Avatar: The Way of Water”

David Vickery, Lee Briggs, Jan Maroske, Steve Ellis, Miguel Perez-Senent // Industrial Light & Magic

 

“Transformers: Rise of the Beasts”
Matt Aitken, Mike Perry, Aaron Cowan, Kevin Estey, Jong Jin Choi // Wētā FX

 

Outstanding Visual Effects – Live Action Episode or Series Season

“Andor – Season One”
Mohen Leo, Scott Pritchard // Industrial Light & Magic

TJ Falls // Lucasfilm

Joseph Kasparian // Hybride

Jelmer Boskma // Scanline

 

“House of the Dragon – The Heirs of the Dragon”

Angus Bickerton, Nikeah Forde, Mike Bell // MPC
Sven Martin, Mark Spindler // Pixomondo

 

“The Last of Us – Season One”
Simon Jung, Aaron Cowan, David Hampton, Dennis Yoo, Ben Roberts // Wētā FX

 

“The Lord of the Rings: The Rings of Power – Season One”

Ron Ames, Jason Smith, Jesse Kobayashi, Ryan Tudhope, Sam Scott // Amazon Studios

 

“The Mandalorian – Season Three”
Grady Cofer, Abbigail Keller, Paul Kavanagh, Delio Tramontozzi // Industrial Light & Magic

Bobo Skipper // Important Looking Pirates

 

Outstanding Supporting Visual Effects – Episode or Series Season

“Barry – Season Four”
Justin Ball, Laura Hill, Andrew Kalicki, David Lopez, Manuel Guizar // Crafty Apes

“Citadel – Secrets in Night Need Early Rains”
Aladino Debert, Greg Teegarden, James Reid, Mathew Rotman, Viv Jim // Digital Domain

 

“Interview with the Vampire – Is My Very Nature That of a Devil”

Ted Rae, Tavis Larkham, Matthew Harris, Hugo Leveille, J.V. Pike // FuseFX

 

“The Night Agent – Season One”

Grant Miller, Hallana Barbosa, Pierceon Bellemare, Mariia Osanova, Ben Stommes // Ingenuity Studios

 

“The Righteous Gemstones – Season Three”

Bruce Branit, Valeri Pfahning // Rough House

Fred Ruff // Refuge VFX

Ed Bruce // Screen Scene Studios

David Lebensfeld // Ingenuity Studios

 

Outstanding Achievement in Restoration

“Casablanca”

1942

Warner Bros.

 

“Cinderella”

1950

Disney

 

“Cimarron”

1931

Warner Bros.

 

“The Godfather”

1972

Paramount Pictures

 

“Winds of Chance”

1925

First National Pictures and Christopher Gray Post Production

 

As previously announced, winners of the Engineering Excellence Award include Adobe for Adobe Premiere Pro Text-Based Editing, Flanders Scientific for XMP550 and Kino Flo for Mimik 120. StypeLand XR received an Honorable Mention.

 

 


Sphere: HPA Awards Honor Creativity and Innovation Winner

The HPA Awards committee has announced that Sphere, the next-generation entertainment medium that recently opened in Las Vegas, will be the recipient of the Judges Award for Creativity and Innovation for 2023. The honor will be presented to the Sphere Entertainment Co. team during the HPA Awards gala on November 28 at the Television Academy’s Wolf Theater in Los Angeles.

David Dibble, CEO of MSG Ventures, a division of Sphere Entertainment focused on developing advanced technologies for live entertainment, says, “Every aspect of Sphere — from the technology we created to capture content to how we tell stories in this new, multi-sensory venue — is a giant leap forward, and we are excited by the extraordinary possibilities this new medium offers. The entire Sphere team is honored to accept this award from HPA, and we look forward to continuing to push our industry forward through the innovative work we are doing at Sphere.”  

Sphere offers multi-sensory immersive experiences across film, concerts and major events. To create these exclusive experiences, the in-house immersive content studio, Sphere Studios, develops and uses proprietary and cutting-edge technology and tools.

The world’s largest spherical structure, Sphere enables audiences to share immersive experiences at a never-before-seen scale. Sphere is powered by bespoke technologies, including its interior LED display – which at 16K x 16K resolution is the world’s highest resolution LED screen. The screen wraps up, over and around the audience to create a fully immersive visual environment. To capture the images and video required for this unique canvas, the team at Sphere Studios developed Big Sky, a groundbreaking ultra-high-resolution camera system and custom content creation tool, capable of capturing incredibly detailed, large-format images. In addition, the venue’s immersive sound system, Sphere Immersive Sound powered by Holoplot, is the world’s most advanced concert-grade audio system, ensuring crystal-clear, individualized sound within its unique curved design.

Sphere’s technological accomplishments also extend to its exterior, the Exosphere, which features 580,000 square feet of fully programmable LED panels capable of displaying a myriad of visuals.

The Sphere opened with the residency of U2, featuring U2:UV Achtung Baby Live At Sphere, a spectacular showcase blending their live performance with captivating visual elements. The first film ever created for Sphere, Darren Aronofsky’s Postcard from Earth, debuted as part of The Sphere Experience, a two-part multisensory journey that marks an inventive approach to content creation and storytelling.

The HPA’s Judges Award for Creativity and Innovation recognizes companies and individuals who exhibit outstanding contributions in the realm of creative storytelling and technical innovation. The honor is not awarded annually but is bestowed at the discretion of the jury. This year’s jury, co-chaired by Carolyn Giardina and Joachim Zell, also included Paul Debevec, Jay Holben, Joanne Kim and Karen Raz.

Previous recipients of the HPA Award for Creativity and Innovation include Peter Jackson for They Shall Not Grow Old, NASA and AWS for the first live broadcast from space, the Together at Home broadcast held during the pandemic, and David France and Ryan Laney for the groundbreaking use of technologies in Welcome to Chechnya.

Tickets for the event are available at hpaonline.com.


HPA Awards

HPA Announces Engineering Excellence Award Winners

A three companies have been honored with the 2023 HPA Award for Engineering Excellence. The honors will be bestowed at this year’s HPA Awards gala on November 9 at the Hollywood Legion in Hollywood.

The HPA Awards for Engineering Excellence recognize outstanding technical and creative ingenuity in media, content production, finishing, distribution, and archive. A panel of industry judges review materials and video presentations before gathering to hear presentations from submitters and then vote on the top technologies.

“In the midst of a revolutionary time in media and entertainment, it was exciting to see the caliber and number of entries to the Engineering Excellence awards this year,” says HPA Awards Engineering Committee Chair Joachim Zell. “Our esteemed judges remarked on the true innovation and advancement in our industry depicted in the presentations.  Sincere congratulations to the winners, and we acknowledge the remarkable achievements represented by every submission.”

The winners of the 2023 HPA Award for Engineering Excellence are:

    • Adobe for Adobe Premiere Pro Text-Based Editing
      “Premiere Pro incorporates text-based editing, changing the way filmmakers approach their craft by making dialogue editing as simple as cutting and pasting text. Powered by Adobe Sensei, Text-Based Editing analyzes video clips and provides transcriptions that identify individual speakers. Using an in-app text editor, post teams can search for words or phrases, cut sentences, and rearrange dialogue to automatically shape rough cuts directly in their timeline. The feature is designed to help post pros create a rough cut faster, increasing efficiency and eliminating traditional bottlenecks in locating, trimming and moving specific clips.”
    • Flanders Scientific for XMP550
      “The XMP550 is a 55-inch UHD resolution HDR and SDR reference mastering monitor built around a new QD-OLED panel featuring 2,000 nits peak luminance, 4,000,000:1 contrast and FSI’s widest color gamut to date. The XMP550 qualifies as a Dolby Vision mastering monitor, bringing an end to the days of compromising between smaller reference-grade HDR displays and larger non-reference client displays. The XMP550 offers reference-grade performance and professional connectivity in a form factor large enough for both the colorist and clients to view. The XMP550 is OLED without compromise.
    • Kino Flo for Mimik 120
      “The MIMIK 120 is a full-spectrum image-based lighting fixture that can synchronize to a XR volume to provide foreground lighting. It can be assembled as a wall or ceiling or be used as individual fixtures. It’s a 7200 pixel, 10 pitch lighting tile that converts a 3-color RGB video pixel into a 5-color pixel consisting of RGB, 2700K and 6500K phosphor white LEDs. The 5-color pixel ensures better tonal and color reproduction of foreground elements. It also operates at a high frequency enabling camera speeds of up to 960fps.”

Honorable Mention: StypeLandXR

“StypeLandXR is an innovative Unreal Engine 5 plugin for virtual production. This tool, used for the Fox Sports Live Multicam XR set, which won the Sports Emmy – The George Wensel Technical Achievement Award, uniquely corrects color shifts on LED walls and resolves inherent delays between LED walls and set extensions. It enables the creation of extensive virtual spaces, offering accurate color matching, seamless transitions and precision calibration. By enhancing visual impact and immersion, StypeLandXR opens new frontiers of creative potential.

 


HPA Names League Honor Recipients

The Hollywood Professional Association (HPA) has named three recipients of HPA League Honors. The League Honors were created to recognize members of the media and entertainment community in the areas of accomplishment, innovation and leadership. The jury believes that the recipients — Vicky Colf, Alison Hoffman, and Kim Snyder — embody those characteristics.

Vicky Colf, former CTO at Warner Bros., will receive the Excelsior Honor, which recognizes a leader who runs a business or finance team in the M&E industry (either a manufacturer, service provider or end user) and who shows impressive business acumen and outstanding leadership while achieving remarkable business growth as well as a commitment to service in the community.

Alison Hoffman, president of Starz Domestic Networks, will receive the Rainmaker Honor, recognizing a leader who deployed intelligent tactics and ensured their company or organization achieved its sales and marketing goals and revenue targets. The award honors excellence in creative marketing, financial performance and business growth, as well as commitment to serving the community.

Kim Snyder, CEO of Panavision, will be recognized as the Alchemist. This honor recognizes a leader who spearheads the innovation of noteworthy technology, bringing tangible benefits to the industry in production, post or workflow, as well as a commitment to serving the community.  

Colf served as CTO/CIO at Warner Bros. Entertainment from 2017 until the close of 2020, She oversaw the studio’s technology services and solutions portfolio, including security. She also led the development of the Digital End-to-End (DETE) automated digital supply chain. Colf sat on the board of Motion Picture Laboratories (MovieLabs) until the end of 2020 and is a current member of Harvey Mudd College Board of Trustees, Harvey Mudd College STEAM:Coders and the Sierra Ventures CXO advisory board.

With revenue and operational responsibility for Starz’s US retail and wholesale businesses, Hoffman oversees key network operations, including distribution, marketing, publicity, product development, analytics and program planning. She was one of the key executives responsible for launching the Starz app and manages the network’s direct-to-consumer business. She joined Starz in 2012 after serving as VP of creative and brand strategy at AMC Networks, where she was a key architect of marketing campaigns for series such as Mad Men, Breaking Bad and The Walking Dead.

Snyder has led Panavision’s global portfolio of companies since 2012, including the acquisition of Light Iron, which she oversaw. Prior to joining Panavision, she was president/GM for Kodak’s Entertainment Imaging division, responsible for all aspects of its business with the motion-picture industry. Her experience includes leadership positions in finance, regional sales and general management. She is a voting member of the Academy of Motion Picture Arts and Sciences and an associate member of the American Society of Cinematographers.

Previous recipients of the League Honors include Annie Chang, VP of creative technologies, Universal Pictures (The Catalyst); Tammy Garnes, VP of education & understanding, Array (The Excelsior); Patricia Keighley, chief quality guru, IMAX Corp. (The Rainmaker); Charles D. King, founder & CEO, Macro (The Star); and Iris Wu, founder, Ambidio (The Alchemist).

Recipients of the HPA League Honors are determined by a jury of industry leaders with support from the HPA Board of Directors. For more information about HPA and the HPA League Honors, visit hpaonline.com

 


HPA Tech Retreat Virtual Roundtable: Tech in the Desert

By Randi Altman

The HPA Tech Retreat is a yearly destination for tech heads working in post and production. It’s not a trade show, it’s a conference — one that limits the number of attendees in order to keep that “summer camp” feel. It’s always held in and around Palm Springs, with the most recent gatherings located in Rancho Mirage.

In addition to sessions that often offer a deep dive into a project — this year was Avatar: The Way of Water — there are other set “events” designed to spur conversation. (Here is a link to the session schedule so you can get a feel for what was covered.) There are the breakfast roundtables, where attendees can talk about a specific technology or trends; group lunches, dinners, and cocktails; and the Innovation Zone, which is the only place the Tech Retreat even slightly resembles NAB or IBC or your traditional trade show.

At any moment in time, you can look around and see people — some of whom you might have worked with in another life — sipping coffee, catching up and developing relationships, all while surrounded by pretty mountains and golfers.

This year we reached out to some of the attendees to get their take on what’s become a yearly destination.

Payton List, Director, Production & Post Technology, Fox Entertainment

What were some highlights of the show for you in terms of the sessions?
I really enjoyed seeing the presentations of the MovieLabs papers. Observing how the technology and workflows were implemented in real scenarios was helpful. It was also very cool to see that sustainability was a topic people are starting to recognize, along with accessibility and the talent deficit in the industry.

What other parts of the Tech Retreat did you enjoy and why?
I had a great time networking with similar minds across the industry, from studios to vendors. We’re all working on the same problems, and by gathering in this space (the HPA Tech Retreat), we have recognized that sharing information and working together in order to solve them is important. Having disparate systems, workflows and technology isn’t going to work for us much longer.

Josh Rizzo, VP, Technical Operations, Sony Pictures Television

What were some highlights of the show for you in terms of the sessions?
While the Avatar: The Way of Water deep dive was rich and well-executed, it deserves its own category for highlights.

For the main sessions, it was both daunting and exciting to see 1) the rapid realization of an industry-wide dearth of engineering talent, and 2) the slow realization that AI maybe, kinda, sorta, one day can fill that gap — but only if we find more really smart folks (I think someone said grad students) to create bespoke, entertainment-first expressions of the tools.

What other parts of the Tech Retreat did you enjoy and why?
The Innovation Zone is always a favorite. The ability to get one-on-one time with engineers and subject matter experts in such a relaxed and collegiate environment is unparalleled.

Marc Zorn, Content Protection & Production Security, Marvel Studios

What were some highlights of the show for you in terms of the sessions?
The Tuesday Supersession is always a highlight. With the focus this year on Avatar: The Way of Water, it’s obvious now that remote collaboration is the way to accomplish a project of this magnitude and complexity.

The absence of a central theme [for the conference] is actually an advantage. The variety of subject matter kept me engaged with every session. From the 34 different roundtables each morning to sessions of just the right length, the Tech Retreat somehow finds that elusive balance.

What other parts of the Tech Retreat did you enjoy and why?
The most important reason I come to the Tech Retreat is for the networking. In between the sessions is a meal, a break or some sort of reception. The Tech Retreat is just full of opportunities to meet or reconnect with friends from all over the industry. Hands down, it’s my favorite professional event.

Renard Jenkins, SVP, Production Integration & Creative Technology Services, Warner Bros. Discovery

What were some highlights of the show for you in terms of the sessions?
The MovieLabs 2030 Showcase was packed with industry leading tech and processes. Ron Gonsalves’ Year in Review of AI/ML Developments for Media Production was so much fun and so informative. He taught us that ChatGPT has a sense of humor or maybe an inflated ego…it was hard to tell, but very funny.

What other parts of the Tech Retreat did you enjoy and why?
I enjoyed the morning roundtables and the Women in Post Luncheon. That panel was so authentic and honest. It showed us how far we have to go, but it also gave us a good glimpse of how far we have come and the incredible effects that betting on women can net.

Neil Coleman, EVP Post Production, 3BMG

What were some highlights of the show for you in terms of the sessions?
The deep dive into Avatar was fascinating. I was really blown away by how many versions needed to be created/delivered in such a short amount of time. It was a master class in organization and workflow on a large scale.

What other parts of the Tech Retreat did you enjoy and why?
I always find the breakfast roundtables to be of great interest. They’ve consistently been a way to have great conversations about specific areas of interest. That said, as the years progress, they seem to be veering into more of a sales pitch from potential vendors rather than discussion topics for fellow attendees.

Out of the three that I attended, Cloud Workflows for Reality/Nonfiction TV with Steve Marshall from Moxion was a bit helpful, if only to confirm our workflows are current and working well.

Sarah Xu, Associate Project Manager Production & Post Technology, Fox Entertainment

What were some highlights of the show for you in terms of the sessions?
The MovieLabs 2030 Panel and Showcase were among the many highlights of the retreat. The retreat presented an opportunity to share innovative ideas and collaborate to work toward a few common goals. The MovieLabs sessions offered a glimpse into the industry’s future, where technology and innovation will increasingly shape the landscape.

From the Royal Opera House’s adoption of a more efficient work process to developing Black Panther in the cloud, the MovieLabs Showcase provided insights into how the industry is adapting to a new way of working and its strategic adoption of new technologies. The productive discussion with technology leaders and the case study showcase offered valuable knowledge on the industry’s progress toward achieving the 2030 Vision as well as a roadmap for future success.

What other parts of the Tech Retreat did you enjoy and why?
The networking opportunities were endless. Whether it was chatting during a refreshment break or over a bowl of ice cream, I found it immensely beneficial to be surrounded by professionals in the same industry to connect, build relationships and share ideas that can lead to new collaborations and opportunities. Through these conversations, I also gained a deeper understanding of the latest trends and innovations and walked away with valuable insights and practical solutions that can be applied to both my current work and future projects. Overall, I believe the HPA Tech Retreat continues to foster a strong sense of community within the industry and provide an incredibly enriching experience.

Greg Ciaccio, Senior Director, Post Production Original Content, IMAX

What were some highlights of the show for you in terms of the sessions?
Avatar: The Way of Water, for sure. I loved all the anecdotes and seeing behind the scenes, not to mention the sheer magnitude of effort to produce so many versions to ensure the highest quality images, sound and localization for the widest audience.

Also, I always look forward to Mark Schubin’s presentation and the many cloud success stories that show how remote workflows are bringing the world closer together while leveraging a worldwide talent pool.

What other parts of the Tech Retreat did you enjoy and why?
Always love how everyone’s in one room — no multiple tracts to choose from. The breakfast roundtables are always a good way to increase your knowledge in an intimate way while ensuring you start off nourished.

The Innovation Zone is like a tiny NAB show floor and highly accessible. Last, the hotel is a very relaxing place to hang out with many industry colleagues and friends. A captive setting in only the best way.

Mike Tosti, Director, Production Engineering, IDC LA

The Supersession! They had fantastic talent on-site and remote working to put Avatar together.

Many kudos to Kevin Rosenberger (KDR Designs) and the Christie engineer who setting up a fantastic 3D and 2D screening room in a hotel ballroom. They outdid themselves. I was excited to reconnect with Kevin.

I always enjoy the CES data dump. I never get to go to CES, so I don’t know the themes and weird products they have there. I wish that presentation had gone longer.

The networking and breakfast roundtables are the best part of the retreat, to be honest. The only problem with the roundtables is the tables fill fast. Plus, the font on the sandwich board is too small for us old duffers to read quicky.

The first roundtable I sat in on was about on-set workflows by Avid.

The second one was about security and run by Juan Reyes and Mathew [Gilliat-Smith] from Convergent Risks. That was a nice, lively discussion. They are our security consultants at IDC.


Randi Altman is the founder and editor-in-chief of postPerspective. She has been covering production and post production for more than 25 years. 

 

 

Podcast 12.4

HPA Tech Retreat 2023: Main Conference Sessions

The Hollywood Professional Association (HPA) has announced the main conference program for the upcoming 2023 HPA Tech Retreat. It will take place February 20-23 at the Westin Rancho Mirage Golf Resort & Spa  in Rancho Mirage, California. Registration for the event is now open.

Now in its 28th year, the event gathers creatives, technologists and executives to discuss technology and trends. The HPA Tech Retreat is composed of TR-X (Monday), the Supersession (Tuesday) and the main conference program (Wednesday and Thursday), which anchors the four-day conference with a curated series of presentations focused on the most pressing issues confronting the industry today.

Mark Schubin, who has steered the Tech Retreat Conference program for 25 years, says, “We received a true abundance of riches this year.  Not only were there more proposals than ever, but they were of exceptionally high quality. Look for presentations from four major studios talking about some of the most important projects. You will see presentations on immersive entertainment like MSG Sphere, as well as virtual production, security and cloud technologies.”

The 2023 HPA Tech Retreat main conference sessions will include:

Wednesday, February 22                         

Technology Year in Review Mark Schubin
What CES 2023 Means for the Media Industry Mark Harrison, DPP
The Future of Localization Rowan de Pomerai, DPP
It Is Time We Had a Conversation About Security in Our Industry Chuck Parker, Sohonet (Moderator); Terri Davies, Trusted Partner Network, Motion Picture Association; Ted Harrington, ISE
Why Being Green is Not Black and White Mark Harrison, DPP (Moderator); Barbara Lange, Kibo121; Cedric Lejeune, Workflowers
Audience Preferences for the Style of Digital Twins Marvel Studios
MovieLabs 2030 Vision Update
The Truth About Overhauling the DMSC Dan Germain, Sony Pictures Entertainment (Moderator); Bill Baggelaar, Sony Pictures Entertainment; Greg Geier, Sony Pictures Entertainment; Hai Dao, Sony Pictures Entertainment; Adam Miller, Nomad; John Hurst, CineCert
Web3 Movie Experience Michelle Munson, Eluvio
The Lord of the Rings: The Rings of Power Ron Ames, Producer; Jesse Kobayashi, visual effects
Remote, Mobile, and Live Workflow Innovation Updates Mark Chiolis, Mobile TV Group (Moderator)
Transforming Broadcasters to Media Companies with Advanced Technologies Hans Hoffman, European Broadcasting Union
SMPTE Update David Grindle, Executive Director, SMPTE

Thursday, February 23                                       

MovieLabs Showcase
Does Everything Really Belong in the Cloud? Chris Lennon, Ross Video (Moderator); Thomas Burns, Dell; Renard Jenkins, Warner Bros. Discovery; Jamie Duemo, Amazon Web Services
Considerations for Creative in the Cloud Bastien Minniti, Amazon Studios
Real-World Production Tips for Implementing Virtual Production Addy Ghani, Disguise
MSG Sphere Studios: Capture, Edit, Deliver in 16K Resolution Jeff Sengpiehl, Key Code Media
Restoration and Preservation Anthony Magliocco, EMTM
Year in Review of New AI/ML Developments for Media Production with a Concentration on Semantic Search Rob Gonsalves, Avid
What About Legacy SDR Content in the New HDR World? Bill Feightner, Colorfront; Tom Graham, Dolby
LiDAR and Digital Twin Technologies Ryan Metcalfe, Preevue
Textures feature of the Alexa 35 Tamara Seybold, ARRI
Post-Retreat Treat: The Origins of Subscription Home Entertainment Mark Schubin

Changes to the program and speakers may occur and will be noted on the HPA website.

Three of the four days of the Tech Retreat also feature breakfast roundtables with industry leading companies and experts speaking and leading discussions on a broad variety of topics of interest.

 

Podcast 12.4

HPA Awards: Winners and Kim Waugh Celebrated

The HPA Awards returned to the Hollywood Legion Theater to celebrate “exceptional achievement in color grading, sound, editing and visual effects.” The sold-out event also honored industry veteran Kim Waugh with its Lifetime Achievement Award and gave out additional honors for engineering excellence and outstanding achievement in restoration.

The winners of the 2022 HPA Awards Creative Categories are:

Outstanding Color Grading – Theatrical Feature

WINNER: “The Batman”

David Cole // FotoKem

Kim Waugh“Top Gun: Maverick”

Stefan Sonnenfeld, Adam Nazarenko // Company 3

 

“Dune”

David Cole // FotoKem

 

“Nightmare Alley”

Stefan Sonnenfeld, Adam Nazarenko // Company 3

 

“No Time to Die”

Matt Wallach // Company 3

 

 

Outstanding Color Grading – Episode or Non-Theatrical Feature

WINNER: “The Marvelous Mrs. Maisel – How Do You Get to Carnegie Hall?”

Steven Bodner // Picture Shop

 

“1883 – 1883”

Mitch Paulson // Company 3

 

“Better Call Saul – Carrot and Stick”

Keith Shaw // Keep Me Posted

 

“Yellowstone – Half the Money”

Bob Festa // Company 3

 

“Billy the Kid – The Rattler”

Mark Kueper // Picture Shop

 

Outstanding Color Grading – Documentary/Nonfiction

 

WINNER: “Our Great National Parks – A World of Wonder”

Dan Gill // Picture Shop

 

“The Rescue”

Stefan Sonnenfeld, Andrew Geary // Company 3

 

“DIO: Dreamers Never Die”

Frederik Bokkenheuser // Picture Shop

 

“Harry Potter 20th Anniversary: Return to Hogwarts”

John Persichetti // Picture Shop

 

“Billie Eilish: Happier Than Ever”

Natasha Leonnet // Company 3

 

 

Outstanding Color Grading – Commercial

WINNER: Qantas – “I Still Call Australia Home”

Mark Gethin // TRAFIK

 

Zara – “Man Spring/Summer 2022”

Tim Masick // Company 3

 

Amazon – “Kindness, the greatest gift”

Damien Vandercruyssen // Harbor

 

Mango – “A Mediterranean Dream”

Joseph Bicknell // Company 3

 

O2 – “The Everyhome”

Fernando Lui // Marla Colour Grading

 

Outstanding Editing – Theatrical Feature

Kim Waugh

WINNER: “Tick, Tick… Boom!”

Myron Kerstein, ACE, Andy Weisblum, ACE

 

“Belfast”

Úna Ní Dhonghaíle, ACE

 

“No Time to Die”

Tom Cross, ACE, Elliot Graham, ACE

 

“Top Gun: Maverick”

Eddie Hamilton, ACE

 

“Encanto”

Jeremy Milton, ACE

 

Outstanding Editing – Documentary/Nonfiction – Theatrical Feature

 

WINNER: “Summer of Soul”Summer of Soul

Joshua L. Pearson

 

“Navalny”

Langdon Page, Maya Daisy Hawke

 

“The Janes”

Kristen Huntley

 

“Flee”

Janus Billeskov Jansen

 

“Lucy And Desi”

Robert A. Martinez

 

“How to Survive a Pandemic”

Tyler H. Walk, Adam Evans

 

Outstanding Editing – Episode or Non-Theatrical Feature (30 Minutes and Under)

 

Kim Waugh

Ali Greer, ACE, Barry and Billy Goldenberg, ACE

WINNER: “Barry – starting now”

Ali Greer

 

“Fast Foodies – Nikki Glaser”

Jason Le, Nathan Belt

 

“Before Dawn, Kabul Time”

Shannon Albrink

 

“Hacks – The One, The Only”

John Daigle

 

“Barry – 710N”

Franky Guttman

 

Outstanding Editing – Episode or Non-Theatrical Feature (Over 30 Minutes) TIE

WINNER: “Severance – The We We Are”

Geoffrey Richman, ACE

WINNER: “Succession – The Disruption”

Brian Kates

 

“Black Bird – The Place I Lie”

Rob Bonz

 

“Stranger Things – Chapter Four: Dear Billy”

Dean Zimmerman, ACE, Casey Cichocki

 

“Moon Knight – The Goldfish Problem”

Cedric Nairn-Smith

 

Outstanding Editing: Documentary/Nonfiction – Episode or Non-Theatrical Feature

WINNER: “Dean Martin: King of Cool”

Tom Donahue 

 

“Spring Awakening: Those You’ve Known”

Joshua L. Pearson

 

“Harry Potter 20th Anniversary: Return to Hogwarts”

Simon Bryant, Jim Clark, Will Gilbey, Jacob Proctor, Pablo Noé, Lior Linevitz-Matthews, James Collett, Bill DeRonde, Asaf Eisenberg, Tim Perniciaro
“Prehistoric Planet – Coasts”

Richard Ketteridge, Andy Hague

 

“Selena + Chef – Kwame Onwuachi”

James Ciccarello, Blake Maddox

 

Outstanding Sound – Theatrical Feature 

Kim Waugh

WINNER: “Dune”

Mark Mangini, Theo Green, Doug Hemphill, Ron Bartlett, Mac Ruth // Formosa Group

“The Batman”

William Files, Douglas Murray, Lee Gilmore, Chris Terhune // Pacific Standard Sound

Andy Nelson // Warner Bros. Post Production Services

 

“Encanto”

Shannon Mills, Nia Hansen, David E. Fluhr, CAS, Gabriel Guy, CAS Paul McGrath, CAS // Walt Disney Animation Studios

 

“Elvis”

Wayne Pashley, Jamieson Shaw, David Lee // Big Bang Sound Design

Andy Nelson, Michael Keller // Warner Bros. Post Production Services

 

“The Matrix Resurrections”

Dane Davis, Stephanie L. Flack, Lars Ginzel, Matthias Lempert, Frank Kruse, Barry O’Sullivan // Warner Bros. Post Production Services

 

 

Outstanding Sound – Episode or Non-Theatrical Feature

 

WINNER: “Barry – 710N”

Sean Heissinger, Matthew E. Taylor, Rickley Dumm // Warner Bros. Post Production Services

Elmo Ponsdomenech, Teddy Salas // Sony Pictures Entertainment

 

“Euphoria – Stand Still Like the Hummingbird”

Wylie Stateman, Anne Jimkes-Root, Austin Roth, Beso Kacharava, Bryant Fuhrmann // 247SND

 

“The Sandman – 24/7”

Aaron Glascock, Christopher S. Aud, Curt Schulkey, Albert Gasser, Walter Spencer, Mike Horton // Warner Bros. Post Production Services

“Candy – The Fight”

Mark Binder, Elliot Hartley, Trevor Cress // IMN Creative

 

“Baymax! – Kiko”

Shannon Mills, Cameron Barker, David E. Fluhr, CAS, Paul McGrath, CAS, Kendall Demarest // Walt Disney Animation Studios

 

Outstanding Sound – Documentary/Nonfiction

WINNER: “The Biggest Little Farm: The Return”

Sue Gamsaragan Cahill, Keith Rogers, Steve Bucino, Johanna Turner, Jane Boegel-Koch // NBCUniversal StudioPost

 

“Endangered”

Lewis Goldstein, Bennett Kerr, Jerrell Suelto, Linzy Elliott, Alfred DeGrand // Parabolic

 

“Becoming Cousteau”

Tony Volante, Daniel Timmons // Harbor

 

“Prehistoric Planet – Freshwater”

Richard Lambert, Jonny Crew, Tim Owens, Tim Mercer, Paul Ackerman // Films at 59

 

“The Princess”

Andrew Stirk, Jack Cheetham, Simon Gershon, Mike Grimes, Jonathan Smith // The Project Post Ltd

 

 

Outstanding Visual Effects – Theatrical or Non-Theatrical Feature -TIE

WINNER: “Doctor Strange in the Multiverse of Madness”

Julian Foddy, Jan Maroske, Koen Hofmeester, Sally Wilson, John Seru // Industrial Light & Magic

WINNER: “Encanto”

Scott Kersavage, Erin V. Ramos, David Hutchins, Christopher Hendryx // Walt Disney Animation Studios

 

“No Time to Die”

Mark Bakowski, Bruno Baron, Rob Shears, Steve Ellis, Denis Scolan // Industrial Light & Magic

 

“Doctor Strange in the Multiverse of Madness”
Joel Behrens, Alex Millet, Kazuki Takahashi, Juan Pablo Allgeier, Bryan Smeall // Digital Domain

 

“The Batman”

Dan Lemmon, Russell Earl, Anthony Smith, Malcolm Humphreys, Michael James Allen // Industrial Light & Magic

 

Outstanding Visual Effects – Episode or Series Season

 

WINNER: “The Book of Boba Fett – Complete Season”
Richard Bluff, Abbigail Keller, Paul Kavanagh, Peter Demarest // Industrial Light & Magic

Abbigail Keller of ILM accepting the trophy for VFX for The Book of Boba Fett from Paul Debevec.

Bobo Skipper // Important Looking Pirates VFX

 

“Foundation – Season One”
Danilo Ivanisevic, Anthony Mimoz, Matthieu Bidault, Maxime Laroche, Lee Brunet // Rodeo FX

 

“Prehistoric Planet – Deserts”

Elliot Newman, Kirstin Hall, Seng Lau, Matt Marshall, Andy Hargreaves // MPC

 

“Stranger Things – Season Four”

Julien Hery, Antoine Sitruk, François Couette, Karim El-Masry, Philip Harris-Genois // Rodeo FX

“Foundation – Season One”
Adica Manis, Chris MacLean, Mike Enriquez // Apple TV+

Chris Keller, Jess Brown // DNEG

 

“Obi-Wan Kenobi – Complete Season”
Patrick Tubach, Pablo Helman, Eddie Pasquarello, David Shirk, Christopher Balog // Industrial Light & Magic

 

Outstanding Supporting Visual Effects – Episode or Series Season

WINNER: “See – Rock-a-Bye”

Chris Wright, Parker Chehak, Scott Riopelle
Javier Roca // El Ranchito

Tristan Zerafa // Pixomondo

 

“Severance – Season One”
Vadim Turchin, Nicole Melius, David Piombino, David Rouxel, Sean R. Findley // The Mill

 

“The Morning Show – My Least Favorite Year”
Zsolt Poczos, Gary Romey, Jeremy Renteria, Sean Roth, Chris Stark // FuseFX

 

“Love, Death & Robots – Night of the Mini Dead”

Thomas Hullin, Josianne Côté, Tim Emeis, José Maximiano // Rodeo FX

 

“The Terminal List – Transience”

Jon Massey, Anthony Ceccomancini, Tom Reeder // Amazon Studios

Josephine Noh // FuseFX

Lawson Deming // Barnstorm VFX

The HPA Lifetime Achievement Award was presented to Kim Waugh (Warner Bros. EVP of Worldwide Post Production Creative Services) by Warner Bros. Discovery president of Worldwide Studio Operations Jeff Nagler.

Ignite Films took home the inaugural Jury Award for Outstanding Restoration for its work on Invaders from Mars.

Winners of the coveted Engineering Excellence Award, announced previously, include Color in the Cloud by Amazon Web Services, ARRI for Reveal color science, LG for UltraFine Pro OLED HDR monitor and Mo-Sys Engineering for LED Key.

 

 

 

 

Kim Waugh

Warner Bros.’ Kim Waugh to Get HPA Lifetime Achievement Award

The Hollywood Professional Association (HPA) Awards Committee has selected studio post exec Kim Waugh to receive this year’s HPA Lifetime Achievement Award. Waugh is EVP of worldwide post production creative services at Warner Bros. Studio Operations (WBSO), part of Warner Bros. Discovery. He will receive the award on November 17 when the HPA Awards gala returns to the Hollywood Legion Theater in Los Angeles. The HPA Awards honor technical and creative excellence in content creation.

Waugh immigrated to the US in the early 1980s, leaving behind a position within the Civil Aviation Authority of New Zealand working alongside key aeronautical engineers to begin his post career in Los Angeles. His introduction to the post production business began at sound editorial company Soundelux, headed by industry veterans Lon Bender and Wylie Stateman. Waugh started out as a sound recordist before moving through the creative ranks into facility management, eventually taking on a partnership role at Soundelux. His field recording landed him credits on films including Glory, Braveheart, JFK and Home Alone.

Waugh (along with Bender and Stateman) received a Technical Achievement Award from the Academy of Motion Picture Arts and Sciences in 1994 for work on developing the ADE (Advanced Data Encoding) System, or “Kiwi 9000.” The system creates an encoded timecode track and database during the initial transfer of the production sound dailies, allowing for a bridge between linear and nonlinear editorial.

In 1995, Waugh oversaw the acquisition and rebuild of Motown Hitsville Hollywood (Signet Sound Hollywood) and Soundelux Vine Street (Ryder Sound), managing and directing both facilities. After Soundelux Entertainment Group was sold to Liberty Media/Ascent Media in 2001, Ascent Media elevated Waugh to SVP of operations and business development, Creative Group.

Waugh joined WBSO in 2004 as VP of post services (PPS), where he focused on building creative relationships, overseeing facility infrastructure and managing talent recruitment. In 2007, he became the senior vice president of PPS, during which time he initiated and oversaw the asset purchase of De Lane Lea post facilities in the Soho neighborhood of London in 2012. Waugh then successfully rolled Warner Bros. Tech Ops’ Motion Picture Imaging group into PPS in 2015. A year later, he oversaw the purchase of Digital Cinema New York, known as WB Sound New York since 2016.

In his current role at WBSO, Waugh oversees creative teams, facilities and operations in Burbank, New York and London, including the company’s mastering, localization, archive and preservation business units. He is currently supervising the build-out of the company’s new flagship post production facility in Soho, London, to further support the growth and workflow from Warner Bros. Studios Leavesden.

“The Lifetime Achievement Award recognizes individuals who make our industry a better place to work on every level, fostering innovation and collegiality as well as accomplishment,” says HPA president Seth Hallen. “Kim is special because he possesses that rare combination of talent and personality that earns both respect and affection within his team, his organization and in the wider industry. One of the best aspects of the HPA Awards is having an opportunity to recognize remarkable people accomplishing amazing things. That’s especially true this year. Kim is respected, accomplished and well-loved, and it is our sincere honor to present this award to him.”

 

 

HPA NET Event: Color Grading in the Cloud

By Barry Goch

On June 16, HPA held its in-person NET (Networking, Education and Technology) lunch meeting focusing on  “Color Grading in the Cloud.” The HPA has always been about showcasing current and just-over-the-horizon technology for media creation and distribution, and cloud-based workflows are no exception.  And thanks to the COVID pandemic, acceptance of cloud workflows has been accelerated, but there is one part of the equation that is still being figured out: color grading in the cloud due to the issue of color accuracy and color grading panels connecting to cloud workstations.

James Blevins, chair of the HPA NET committee, moderated the event. Blevins was also the post production supervisor of the cloud demonstration project called Fathead, which originated at USC’s Entertainment Technology Center (ETC). It was directed by C. Craig Patterson and shot on an LED volume by DP Kathryn Boyd-Batstone on an ARRI Alexa LF. Post completed in Blackmagic Resolve.

The presentation was split into two panels. The first consisted of the creative team: Patterson, Boyd-Batstone, colorist Arianna Shining Star and assistant editor Shawn Carlson. The second focused on the technology side of the equation and featured Sohonet’s Jon Walkenhorst, Arch Platform Technologies’ Edward Churchward, Streambox’s Shawn Sennett and Blackmagic’s Shawn Carlson.

Fathead is a story that my mother told me about how she and her friends used to play in the neighborhood,” explains Patterson, “and I took that story and made it more fantastical and put it in a junkyard. So it’s a story about these kids who all live in a junkyard, pretty much free of adult interference.”

In terms of the workflow, post started on-set. “AWS provided a 10-Gig pipe going from the stage to an S3 bucket,” said Blevins. The footage was then further copied over to the FSx fast cloud storage, which is a high-speed storage connection to enable solid playback.”

One of the key issues artists and creatives face in the finishing process is the required interactivity of the interfaces, control surfaces and color fidelity “in the room.” As with most new processes, there are certainly hurdles to overcome, and this project was no different. Once the colorist’s workstation stabilized, Boyd-Batstone found that “in a lot of ways, [the cloud workflow] didn’t really have as much of an impact. We’re finding our footing, and there were practical hurdles just to get started, but then we were cruising.”

“As a colorist, what do you always want? Of course, you want the quality of the color correction to look incredible and the image to look beautiful. But equally important is that the collaborative experience is positive,” said Shining Star.

How was this interactive, color-accurate experience achieved? That’s where the technologist of the second panel entered the conversation. Churchward gave “a shout out to AWS because the underlying infrastructure is so robust. The big difference in moving from supporting on-prem to a data center is the ability to not worry about drives failing, about CPUs failing; it just doesn’t happen. Technology just needs to get out of the way. Basically, just enable the creatives to do their job.”

Blackmagic’s Carlson added, “It’s just one more step right toward that fully global, collaborative workflow. We have embraced a couple of aspects of this. People have used that collaborative project environment within facilities, and now it extends to a cloud project library.”

Streambox’s Sennett explained that the minimum level of connectivity necessary for the project’s 4K, 12-bit, 4:4:4 streams is right around 65Mbps (and recommended 80Mbps). And for a playback display, Sennett was big on Apple’s iPad Pro. “If you’re using one of the newer iPad pros, we can get them close to a dedicated calibration monitor. We’ve got lots and lots of partners that are using our products — sending iPad Pros out to their producers for reviews — because we can control the tone-mapping on them. We can show both the HDR and the SDR signal. We can use up to all 1,000 nits.”

It’s not all roses and tulips out there, however.  “It’s that last 10 feet that we have to be concerned about,” said Sennett. Blevins added that it’s not just about the speed of the connection, but the consistency as well.

Sohonet’s Walkenhorst provided further insight into the support issue. “A large percentage of our enterprise customers have moved into the top-down support model — here are the set of tools that you get to choose from instead of the all the tools available. So, yes, support is absolutely important —  24/7 expertise. We now have network and video engineers in our support organization. That was unheard of a few years ago, but that’s the base-level today.”

Arch’s Churchward added, “I think the rental houses will have to pivot slightly as well, because they’ll be able to support these workflows. The thing about working in the cloud is that it’s easy to build another box in, but you need to support those applications. I think that’s where we see the biggest level of support. Why is this particular thing not rendering? Why is the color not coming through?”

Just like NAB in April, it was great to get together and reconnect with people. No Zoom call can replace the random meetings and connections that happen with in-person events.


Barry Goch is senior editor at ColorTime in North Hollywood, HPA NET committee member and current chair SMPTE Hollywood.

 

 

 

 

HPA Tech Retreat: Virtual Production, Remote Production, More

By Tom Coughlin

The 2022 HPA Retreat returned as a physical event in February after a virtual event in 2021. At the 2020 event, which happened less than a month before the US COVID shutdown, the retreat presciently focused on using the cloud for video capture and production and enabling remote workflows. The 2020 event also featured some use of LED video walls to enable new flexibility in studio production, both of which allowed work to continue during the pandemic.

The Convergence of Cinema and Broadcast
Monday’s session featured camera technology for on-camera effects and editing. During one part, there was a discussion about the production of the 2022 Super Bowl halftime show. Phil Galler discussed Lux Machina’s virtual production work. Good design of a virtual studio is important and includes monitoring, easy signal management, clear and fast access to information about signal status and health, and flexible deployment of signal types. The figure to the right shows the signal flow for a virtual studio with an LED volume stage.

Galler showed the machine room they used and talked about using 12 Sony Venice cameras with genlock of multiple flavors, cinema encoders, camera tracking and broadcast signal integration. He showed an example using four broadcast cameras for the League of Legends: Worlds 2020, which included 240 hours of live content and player/talent interactivity. Galler talked about future steps, including a focus-iris-zoom (FIZ) workflow that merges cine and broadcast; automating the color workflow; and a multicam, in-camera visual effects (ICVFX) workflow, which is particularly useful for real-time broadcast video.

Future workflows will work with the SMPTE ST 2110 standards with PTP (2059-2) incorporated into every camera body, film or broadcast. The workflows will require portable, high-resolution, fast displays that support 240fps to 360fps and work with 100GbE and 200GbE now and higher performance in the future.

There was another panel discussion with Morgan Kellum from PRG, David Bourgeois from Cyanview, Mark Chiolis (moderator) from the Mobile TV Group, James Coker from the Digital Cinema Collective and Kevin Norris (a freelance video engineer). They discussed combining broadcast and cine workflows for real-time productions. This was followed by a panel with moderator Payton List from Fox Entertainment Group, Bill Bennett from American Society of Cinematographers and Tim Walker from AJA Video Systems talking about the Fox Sports-produced “Field of Dreams” game. Ron Williams from the Landmark Group also joined the panel to talk about concert videos with Coachella and Billie Eilish live-streamed over YouTube.

For the Fox Sports “Field of Dreams” game, they used four independent 2K, HD or SD video processors from AJA and one 4K or Ultra HD video processor to manage the video content.

Following this session was a discussion on NAB’s Cine Consortium, which met in November 2021 to talk about how the broadcast and cine worlds are coming together. It was led by Kristin Petrovich, chair of the NAB Cine Consortium.

The following session covered TR-X tools and technology moderated by Renard Jenkins from WarnerMedia, Chase Hagen from ARRI, Dan Perry from Sony, Tom Fletcher from Fujinon/Fujifilm and Travis Stevens with Butcher Bird. Chase said that in professional football, they are moving to using different types of cameras. For example, fans like shallow depth-of-field cameras for some shots. Dan Perry from Sony showed the company’s HDC-4800 high-frame-rate camera. Besides at the Super Bowl halftime show, Venice cameras were used for Adele’s concert at the Griffith Observatory. He reported that the HDC-F5500 is targeting broadcast applications.

Butcher Bird’s Stevens discussed an eight-episode Orbital Redux sci-fi video series that was performed in real time and streamed live. It was shot in 4K and used Blackmagic gear, including an ATEM Television Studio Pro 4K, an ATEM 1 M/E advanced panel, a HyperDeck Studio Mini, a HyperDeck Studio, an ATEM 2 M/E Production Studio 4K and a Teranex Express. Fletcher from Fujinon/Fujifilm discussed servo cinema zoom systems for multi-camera Super 35 production as well as cinema box lenses. These box lenses were used in the Super Bowl halftime show.

Virtual Production
The second day focused on virtual production — using AI to assist with various imaging and other functions. There was an interesting demonstration of acoustical measurements, synthetic beings in digital entertainment, and direct-view LED (dvLED) virtual production and lighting.  There were three dvLED walls on display, including a very high-density Sony. You had to get within about 3 feet of the screen to start to see the pixels.

Among the talks on LED walls and virtual production, Addy Ghani from Disguise provided a simplified block diagram of the workflow (left).  These direct view LED walls use a lot of display panels and very high pixel density. (For example, an AOTO wall can have over 270,000 dots per square meter — 0.27 dots/mm2).

Digital Preservation
The third day included presentations on the 2022 CES show and consumer trends that will impact the media and entertainment industry and cloud-based workflows for remote collaboration and more use of AI in media production. The ASC also showed a new Standard Evaluation Material video designed to incorporate challenging cinematographic material using the newest image-capture methods (high-dynamic-range color volumes in ACES and in-camera visual effects LED walls).

There was also an update on the Academy Digital Preservation Forum (ADPF). In 2007 the Academy published a report on digital archiving and preservation called “The Digital Dilemma.” In 2012 it published “The Digital Dilemma 2.” These reports addressed the archiving and preservation challenges posed by the digitization of filmmaking. At the time, the Academy determined that digital media didn’t have the same long-term preservation characteristics as film. The Academy has continued its work in this area, and this presentation was an update.

Since the publication of the Digital Dilemma reports, digital acquisition has become ubiquitous. It enables UHD and 8K, it includes high-dynamic range and many more sound options, and it has been moving to virtual production. There are now some digital video formats that exceed the resolution limits of conventional film, and there are now new ways to consume and use content, including streaming, interactive content, immersive content and NFTs. There is a need to remaster and regrade legacy content for these new applications and transfer it to new media platforms.

With film, the content gradually degrades, but in the case of digital data, if it isn’t preserved, it is gone. The ADPF was designed to bring experts, filmmakers and technologists together to address this dilemma, but COVID got in the way. So the ADPF is now an online gathering. The ADPF is looking for input on new technologies and methodologies and enabling communication between archivists and storage providers. You can get involved here.

Storage
In the HPA Tech Retreat Innovation Zone, there were several companies with digital storage-oriented technology. These included Avid, Hammerspace, Object Matrix, Seagate, Spectra Logic and Western Digital/SanDisk.

In February, Avid announced its Avid Nexis Edge product for remote post workflows and showed it at the Tech Retreat. Avid Nexis Edge allows video editors to work concurrently on the same video content, sharing metadata and media on Avid Nexis from anywhere. Project and bin metadata can be shared by editors. Media content can be automatically converted to lightweight streaming formats, enabling real-time remote editing over standard internet connections. Media can also be downloaded remotely by editors for disconnected operation.

Nexis Edge integrates directly with Avid Media Composer Enterprise, enabling centralized, role-based administration. Using simple, web-based tools, administrators can easily control access to content and editing tools. With Media Composer Enterprise, each team member can enjoy a customized user experience tailored to their needs and their role in the workflow.

Codex was showing its MediaVault and Transfer Drive storage devices. The solid-state Transfer Drive’s power management and thermal design prevent performance throttling. The MediaVault provides storage for a large volume of production data.

Eluvio was showing its distributed, blockchain-based platform (Eluvio Content Blockchain) for storing, streaming, minting, ticketing and trading digital experiences (including NFTs). Eluvio was involved in Fox’s NFT project for The Masked Singer’s Maskverse.

Equinix, a provider of data center co-location and other services, was also exhibiting and talking about its various services, including its digital storage offerings. The company discussed Equinix Metal, its service for production workflows at the edge; Equinix Fabric, providing a private, high-performance, low-latency SD network; Equinix Network Edge to help reach remote areas, customers and partners without physical network infrastructure; and Equinox Precision Time for SMPTE ST 2110-10 use cases.

Hammerspace was demonstrating media content access using the company’s software-defined Global Data Environment Hammerspace says that the Global Data Environment solves data accessibility challenges for users, applications and data wherever they are located. Organizations can easily store, protect and operate on data by moving it to the location they deem best for compute resources, infrastructure costs and making files locally available to a distributed workforce. Applications can also access data stored remotely while providing high-performance local access when needed.

Object Matrix demonstrated its SimpleCloud service that enables virtual teams to work together securely and remotely, with instant access to media assets using MatrixStore Cloud.  SimpleCloud is built on IBM Cloud.

Western Digital/SanDisk showed various pro products for capturing, transferring, editing and archiving content. These included the Pro-Dock 4 Reader docking station and Pro-Reader devices for high-capacity offloading from various popular camera media formats (see image to the left). I was shown a Pro-Reader for a Red Mini-Mag camera storage device. The company also showed its G-Drive and G-Drive Pro desktop hard disk drives and its G-RAID Shuttle for high-capacity transportable RAID storage. Also on display were portable HDDs and SSDs.

Scale Logic showed WorkflowConnect, which includes primary production storage, hybrid tiered storage as well as hardware- and software-based remote workflow, analytics and business intelligence, all working with private and public clouds. The company also showed LogicStore, an active archive platform for post environments and zero-cost egress to public cloud platforms.

Seagate displayed Exos Corvault, an intelligent, self-healing block storage system providing multi-petabytes of raw storage capacity. Also on display was its Lyve Mobile high-capacity storage solution for physical data transfer. Seagate also had information on the Lyve Cloud storage services offered with Equinix in their data centers. This includes storage and backup storage as a service.

Signiant was there showing how it is using its Lesspain Software and Levels Beyond acquisitions to accelerate the delivery of new modules designed to facilitate interactions with media assets on customer-controlled storage connected to its SaaS platform. Signiant demonstrated how its media engine can extract metadata and generate proxies and scrubbable thumbnails from media on customer storage to allow federated search, preview and partial retrieval.

Spectra Logic showed how its StorCycle identifies file attributes of unmanaged assets and moves less frequently accessed content to a lower-cost storage tier. The company says StorCycle makes it possible to implement an integrated perpetual storage tier for a solution that enables workflow automation in production environments. The company also discussed Spectra Vail cloud data management software, which can unify all of your data so you can leverage on-prem application and native cloud services no matter where your data is created or stored, avoiding vendor lock-in.

Wasabi was on hand to demonstrate editing in the cloud with Wasabi Hot Cloud storage and Adobe Premiere, accelerated file transfer and management with Wasabi and Signiant Media Shuttle, and hybrid media storage and collaboration with Wasabi and Scale Logic WorkflowConnect.


Tom Coughlin is president of Coughlin Associates and is a digital storage analyst and business and technology consultant. Since 2009, Coughlin Associates has conducted a survey on digital storage use by M&E pros. The results of the 2022 survey will be used to create the 2022 Coughlin Associates report on Digital Storage for Professional Media and Entertainment. Here is the survey. A summary of the survey results will be made available to survey participants who leave their contact information. 

HPA Tech Retreat: Update on MovieLabs’ ‘2030 Vision’ for Cloud

By Mark Turner

During the last week of February, entertainment technology luminaries from across the world gathered in Palm Springs at the HPA Tech Retreat. The event was a resurgence, with a sold-out crowd gathering for four days of conference sessions, informal and spontaneous conversations, and advanced technology demonstrations. MovieLabs, the nonprofit technology joint venture of the major Hollywood studios, took part in a series of sessions highlighting the progress and next steps toward its “2030 Vision” for the future of media creation.

MovieLabsMovieLabs CEO Richard Berger moderated the “Vision 2030 Update” panel, which included Marvel’s Eddie Drake, Universal’s Michael Wise, Avid’s Jeff Rosica, Google Cloud’s Buzz Hays, Microsoft Azure’s Hanno Basse and Autodesk’s Matt Sivertson. The group discussed how they see MovieLabs’ 2030 Vision — developed in a 2019 white paper called “The Evolution of Media Creation” and what has become known as a shared roadmap for how content production will evolve. The panelists each spoke about what it means for their organizations and how they are democratizing the vision to form a shared roadmap for the whole industry.

Of course, no discussion about the future of production technology can start without reflecting on the impacts of COVID and the opportunities for change it provides. “The pandemic accelerated our plans to go from on-prem to a virtualized infrastructure, and it created a nice environment for change management to get our users used to working in that sort of way,” shared panelist Drake, who is head of technology for Marvel.

Jeff Rosica

Avid’s CEO, Rosica, said of this path to the cloud, “If we weren’t aligned, if we were all off in a different direction and doing our own things, we’d have a mess on our hands because this is a massive transformation. This is bigger than anything we’ve done as an industry before.”

“We’re going to be working very aggressively” with both vendors and in-house software teams to accelerate cloud deployments in key areas where they see the most immediate opportunity, including set-to-cloud (where he sees tools are maturing), dailies processes, the turnover process, editorial, mastering and delivery, reported Drake.

Wise, SVP/CTO at Universal Pictures, explained that they have been focusing their cloud migration on distributed 3D asset-creation pipelines leveraging Azure on a global basis. The pipelines are in use initially at DreamWorks but soon to be on live-action features as well, all so they can leverage talent from around the world. “As we’ve done that work, we’ve been leaning into the work of MovieLabs and the ETC to make sure what we’re building leverages emerging industry standards, including the ontology and VFX interop specs from ETC and interoperability from MovieLabs.”

MovieLabs

Michael Wise

Sivertson, VP/chief architect, entertainment and media solutions at Autodesk, is a relative newcomer to both Autodesk and the industry, and he explained how the 2030 Vision was used as shorthand for the job description in his new role at Autodesk. “When all your largest customers tell you exactly what they want, it’s probably smart to listen.” He’s looking forward to seeing how “we can all collaborate together to make it a reality.”

Hays, a post veteran and now global lead of entertainment industry solutions for Google Cloud, summarized the improvements that we can enjoy from a cloud-based workflow. “What we’re looking at is how can we make this a more efficient process and eliminate the delays that can end up costing money.”

Basse, CTO of media and entertainment for Microsoft Azure, agreed and added, “You need to rearchitect what you’re doing and ask, ‘Why are you going into the cloud?’” He then listed the main reasons Microsoft is seeing for cloud migrations, including enabling global collaboration; enabling talent to use remote workstations from anywhere; and enabling a more secure workflow, in which all assets are protected at the same level.

Picking up on the security theme, Hays challenged the perceived notion that there is a conflict between security and productivity and asked, “Why are those mutually exclusive?” He added that we should “come up with solutions that are invisible to the end user, that are secure, that tick all the boxes and are truly hybrid in nature, that work on-prem and are multi-cloud.”

Hayes went on to explain how zero-trust security, aligned with the MovieLabs common security architecture for production, works based on the notion of flipping security inside out to secure the core data first, rather than focusing on external perimeters and keeping bad actors out. “Until we get to the ‘single-source of truth’ cloud version, there are copies of everything flying around productions, and you never get all those back,” he said. Building workflows that leverage interoperability between common building blocks was a core theme of the discussion and was embraced by all those on the panel. “A bad outcome would be a ‘lift and shift’ from the on-premises technologies and specs and just putting them in the cloud. We’ve got a moment in time to make our systems interoperable, and interoperability is the key not just for asset reuse but also for asset creation and distribution.”

MovieLabs

Hanno Basse

Basse from Microsoft was more prescriptive in what interoperability needs to include and said, “We need the industry to come together and define some common data models, common APIs, common ways of accessing the data, how that data relates to others and how to hand it off from one step in the workflow to the next.” He then gave the example of 3D assets that are typically recreated because prior versions cannot be easily discovered and shared between applications and productions.

During Basse’s seven years at 20th Century Fox, the same iconic building was destroyed in at least 10 movies and TV shows, and every time the asset was recreated from scratch. Allowing assets to be reused and interoperable between different pipelines and applications will therefore open workflow efficiencies, speeding content time to market.

Basse makes the case that creative applications that are running in the cloud on virtual machines are not the optimal solution for where we need to get to, but an interim step toward ultimately becoming SaaS-based services and running on serverless infrastructure.

Matt Sivertson

While looking at the opportunities ahead, the panelists agreed that no single company can do this migration itself and that it will require work to share data and collaborate together.  Sivertson from Autodesk said, “Our intention is to be very open with data access and our APIs, as the data is not ours; the data is our customers’, and they should be able to decide where it goes. If providers let jealously guard the data as a source of differentiation, you’ll probably get left behind.”

Rosica agreed, saying the “desired state and the outcomes that we’re looking for allow us to develop roadmap plans, not just for ourselves but for all of our partners in the industry, as we all need to interoperate together.”

Interestingly, many of the themes explored during this HPA Tech Retreat panel echo the key learnings in MovieLabs’ latest paper in the 2030 Series: “Urgent Memo to the C-Suite.” That paper explains how investments in production technology can enable time savings, efficiencies, and workflow optimizations from a cloud-centric, automatable and software-defined workflow. It will certainly be interesting to see how far the industry has come in the 2030 journey by the time of HPA Tech Retreat 2023, hopefully without the masks and COVID protocols.

Main Photo Credit: Josh Rizzo


Mark Turner coordinates the production technology program for MovieLabs, which created the 2030 Vision for the future of content creation

 

 

ClearView Flex Glow

Sohonet ClearView Flex Glow for Live HDR Streaming

At the HPA Tech Retreat in Palm Springs, Sohonet introduced ClearView Flex Glow, a real-time remote collaboration solution for creatives featuring high-dynamic range (HDR) color.

ClearView Flex Glow supports remote, live HDR streaming in real time with ultra-low latency, 5.1 surround sound audio. Up to 40 viewers can participate in live review with solid frame rate, color and audio accuracy, including HDR. It supports HD and 2K DCI resolution in Rec. 709, P3 and Rec. 2020 color spaces with 10-bit color depth for capture and viewing.

Glow supports HDR on multiple devices, including the iPad Pro and iPhone 12/13.  Support for Apple TV will be available soon.

Like the rest of the ClearView family, ClearView Flex Glow offers studio-grade security and is regularly audited by industry-approved third-party security auditors. Security is built in at every level, including end-to-end encryption with air-gapped security for prerelease workflows.

“Adding HDR to our streaming capabilities gives filmmakers a new set of creative choices for their workflows,” says Sohonet CEO Chuck Parker. “ClearView Flex Glow opens up a whole new way of storytelling with a depth of color experienced in real time, giving creators a superior ‘over-the-shoulder’ viewing experience.”

 

 

HPA Outlines Enhanced Health and Safety Protocols for HPA Tech Retreat

In preparation for an in-person return of the annual HPA Tech Retreat HPA has announced enhanced protocols governing health and safety at the Palm Springs venue. Through extensive research, partnership with experienced health and safety experts, collaboration with the event venue (the Westin Mission Hills Golf Resort & Spa) and meticulous tracking and planning, HPA is ready for a safe Tech Retreat experience. The event takes place February 21-24.

Leading COVID compliance and health safety company InHouse Physicians (IHP), which  has provided corporate health security and wellness services for global meetings and events for nearly 30 years, has been providing pre-event consultation and will support HPA and Tech Retreat attendees on-site during the event.

Health and safety measures in place at the 2022 HPA Tech Retreat include:

  • All attendees must provide proof of vaccination (2 doses of Pfizer or Moderna or 1 dose of Johnson & Johnson). Additionally, boosters are strongly recommended.
  • All attendees must provide proof of negative molecular (RT-PCR, RT-LAMP, NEAR) test within 72 hours or negative antigen test within 48 hours prior to arrival
  • The Westin Mission Hills Golf Resort & Spa has created a “Safe Zone” for all Tech Retreat attendees. No outside guests will be permitted in the conference area.
  • Separate, outdoor hotel check-in and registration for Tech Retreat attendees only
  • KN95 or N95 masks will be required indoors at all times when not actively eating or drinking. Cloth masks will not be permitted.
  • Whenever possible, sessions, meals and breaks will take place outdoors
  • Attendees will also have the option to enjoy select live presentations outdoors via the use of large displays
  • The hotel features a state-of-the-art HVAC with MERV 13 filtration system
  • Continuous fresh air is circulated into all event and conference spaces
  • IHP COVID compliance officers will be present on site
  • Nightly electrostatic sanitizing of conference and event spaces
  • Complimentary COVID testing kits available to attendees
  • Hand sanitizing stations throughout the venue

“It’s in HPA’s DNA to pay painstaking attention to every single aspect of our events, and that’s how we’ve consistently presented the incredible Tech Retreat that our community loves and expects,” says HPA president Seth Hallen. “We analyzed in minute detail what would be needed to bring the Retreat back to a live event; with a critical eye in terms of health and safety.”

“Palm Springs’ vaccination rate has been consistently among the top in the state,” says Phil Kubel, executive director of the HPA. “We’ve been diligent in our instructions and relationship with the venue to provide as safe an environment as possible and they have been great partners. We continue to closely monitor the COVID situation and keep a careful eye on public health recommendations. We have continuously adjusted our protocols to reflect the most up-to-date thinking so that we can provide our attendees with a healthy and safe event that exemplifies the Tech Retreat experience of connection, conversation and networking.”

 

 

HPA Awards

2021 HPA Award Winners Announced

The 2021 HPA Awards have been given out, celebrating exceptional work in color grading, sound, editing and visual effects in commercial, episodics and feature projects. Returning to a sold-out gala after a virtual event in 2020, this year’s HPA Awards included presenters Barry Meyer, Karol Urban, Anna Behlmer, Brooke Breton, Sabrina Plisco and Patricia Riggen.

Here are this year’s winners in the Creative Categories:

Outstanding Color Grading – Theatrical Feature

“Jungle Cruise” – WINNER

Shooting Jungle Cruise Underwater

.

Mitch Paulson // Company 3  

“Candyman”

Natasha Leonnet // Company 3

 

“The Green Knight”

Alastor Pan Arnold // FotoKem

 

“Judas and the Black Messiah”

Tom Poole // Company 3

 

“Minari”

David Cole // FotoKem 

 

Outstanding Color Grading – Episodic or Non-Theatrical Feature

 HPA Award Winners

“WandaVision – Previously On” – WINNER

Matt Watson // Marvel Studios Finishing 

“Lovecraft Country – Meet Me in Daegu”
Rory Gordon // ArsenalFX Color

 

“The Queen’s Gambit – End Game”

Steven Bodner // Light Iron

 

“Sweet Tooth – Big Man”
Walter Volpatto // Company 3

 

“The Underground Railroad – Chapter 8: Indiana Autumn”

Alex Bickel // Color Collective

 

Outstanding Color Grading – Commercial  

Toyota – “Jessica Long’s Story: Upstream” – WINNER

Jill Bogdanowicz // Company 3 

Dior – “Spring-Summer 2021 Collection”

Tim Masick // Company 3

 

Hyundai – “I’m In Charge”

Sofie Borup // Company 3

 

Lexus – “A New Era”

Matt Osborne // Company 3

 

Zara – “Spring Summer 2021 Campaign”

Tim Masick // Company 3

 

Outstanding Editing – Theatrical Feature

 HPA Award Winners

“Sound of Metal”

Mikkel E. G. Nielsen, ACE – WINNER

 

“The Father”

Yorgos Lamprinos

 

“Minari”

Harry Yoon, ACE

 

“Soul”

Kevin Nolting, ACE

 

“The Trial of the Chicago 7”

Alan Baumgarten, ACE

 

Outstanding Editing – Episodic or Non-Theatrical Feature (30 Minutes and Under)

“Hacks – Falling” – WINNER

Susan Vaill, ACE

 

“A Black Lady Sketch Show – Sister, May I Call You Oshun?”
Daysha Broadway, ACE, Stephanie Filo, ACE, Jessica Hernández, ACE

 

“Conan – DIY Conan”

Rob Ashe, Chris Heller, Matt Shaw

 

“Hacks – Interview”

Jessica Brunetto, Marissa Mueller

 

“Hacks – There Is No Line”

Jessica Brunetto

 

“Hacks – Tunnel of Love”

Ali Greer

 

Outstanding Editing – Episodic or Non-Theatrical Feature (Over 30 Minutes)

 

“A Perfect Planet: The Sun” – WINNER

Nigel Buck

 

“Allen v. Farrow – Episode 101”

Mikaela Shwer, Parker Laramie, Sara Newens

 

“His Dark Materials – The Scholar”

Sara Jones

 

“Lovecraft Country – Meet Me in Daegu”
Sean Albertson, ACE

 

“The Underground Railroad – Chapter 9: Indiana Winter”

Joi McMillon, ACE

 

Outstanding Sound – Theatrical Feature

 HPA Award Winners

“Space Jam: A New Legacy” – WINNER

Tim LeBlanc, Michael Keller // Warner Bros. Post Production Creative Services

Erik Aadahl, Ethan Van der Ryn, Malte Bieler // E Squared

 

 

“Cherry”

Mark Binder, Elliot Hartley, Donald Flick, Trevor Cress, Matt Coby // IMN Creative

 

“Godzilla vs. Kong”

Tom Ozanich, Dean A. Zupancic // Warner Bros. Post Production Creative Services

Erik Aadahl, Ethan Van der Ryn, Jason W. Jennings // E Squared

 

“In the Heights”

Lewis Goldstein, John Marquis, Paul Urmson, Gina Alfano, Brian Bowles, Thomas Ryan,

Alex Soto // Parabolic

 

“Reminiscence”

Jeremy Peirson, Thomas Jones, Michael Babcock, Sarah Bourgeois, Jessie Pariseau // Warner Bros. Post Production Creative Services

 

“Sound of Metal”

Nicolas Becker, Carolina Santana // Sound Park

Carlos Cortés // SplendorOmnia

Michellee Couttolenc, Jaime Baksht // AstroLX

  

Outstanding Sound – Episodic or Non-Theatrical Feature

 

“Snowpiercer – Many Miles from Snowpiercer” – WINNER

Sandra Portman, Kelly Cole, Bill Mellow, James Fonnyadt, Eric Mouawad, Gregorio Gomez // Sharpe Sound Studios 

 

“Lovecraft Country – Sundown”

Tim Kimmel, Marc Fishman, Mathew Waters, Paula Fairfield, Bradley Katona // The Formosa Group

 

“Oslo”  

Lewis Goldstein, Gina Alfano, Thomas Ryan, Alex Soto // Parabolic

 

“The Right Stuff – Flight”
Walt Newman, Darleen Stoker, Kenneth Young, Brad Sherman, Alex Gruzdev, Sanaa Kelley, Adam DeCoster, Chris McGreary // Warner Bros. Post Production Creative Services

 

“Sweet Tooth – Out of the Deep Woods”  

George Haddad, Chad Hughes, Alex Gruzdev, Brad Sherman, Julie Altus // Warner Bros. Post Production Creative Services

 

Outstanding Visual Effects – Theatrical Feature

 

“Black Widow” – WINNER

David Hodgins, Hanzhi Tang, Ryan Duhaime, James Reid, Edmond Smith III // Digital Domain

 

“Black Widow”

Sean Walker, Marvyn Young, Karl Rapley, Lily Lawrence, Timothy Walker // Weta Digital

 

“Godzilla vs. Kong”

Pier Lefebvre, Michael Langford, Timucin Ozger, Sarang Deshpande, Joshua Toonen // MPC Film

 

“Jungle Cruise”

Luke Millar // Weta Digital

Chad Wiebe // Industrial Light & Magic

Jim Berney, JD Schwalm, Marla Henshaw

 

“The Suicide Squad”

Mark Gee, Danielle Immerman, Mike Cozens, Jason Galeon, Makoto Hatanaka // Weta Digital

 

Outstanding Visual Effects – Episodic (Under 13 Episodes) or Non-theatrical Feature

“The Mandalorian – Chapter 9: The Marshal” – WINNER

Joe Bauer, Richard Bluff, Abbigail Keller, Hal Hickel, Jeff Capogreco // Industrial Light & Magic 

 

“The Falcon and the Winter Soldier – New World Order”

Johannes Bresser, Mark Smith, Alexia Cui, Paul Jenness, Sebastian Bommersheim // Weta Digital

 

“Loki – Journey Into Mystery”

Dan DeLeeuw, David Seager, Alexandra Greene, George Kuruvilla, Dan Mayer // Industrial Light & Magic

 

“Lovecraft Country – Jig-a-Bobo”

Kevin Blank, Robin Griffin // HBO

Pietro Ponti // Important Looking Pirates

Grant Walker // Framestore

Francois Dumoulin // RodeoFX

 

“Star Trek: Discovery – Su’Kal”

Jason Michael Zimmerman, Ante Dekovic, Aleksandra Kochoska, Charles Collyer, Alexander Wood // CBS Television Studios

 

“WandaVision – The Series Finale”

Marion Spates, Suzanne Foster, R. Matt Smith, Simon Twine, Frankie Stellato // Digital Domain

 

Outstanding Visual Effects – Episodic (Over 13 Episodes)

 

“9-1-1 – The New Abnormal” – WINNER

Jon Massey, Tony Pirzadeh, Timothy Cairns, Bryant Reif, Josephine Noh // FuseFX 

 

“Grey’s Anatomy – Breathe”

Tim Carras, Andie Eikenberg, Bill Parker, Kenneth Armstrong, Chris Myers // Barnstorm VFX

 

“NCIS: Los Angeles – The Bear”

Carlo Vega, Manmeet Singh, Michael Carter, Dylan Chudzynski // DigitalFilm Tree

 

“9-1-1: Lone Star – Hold the Line”

Brigitte Bourque, Tyler Deck, Jason Gottlieb, Josephine Noh, James Yates // FuseFX

 

“Supergirl – Welcome Back, Kara!”

Armen V. Kevorkian, Jennifer Mochinski, Alex Schade, Carlos Aldrey, Fabian Jimenez, Denys Shchukin // Encore VFX

The Judges Award for Creativity and Innovation, a juried honor, was awarded to the documentary Welcome to Chechnya and to its director, David France and visual effects supervisor Ryan Laney. Industry veteran Darcy Antonellis received The HPA Lifetime Achievement Award, which was presented to her by former Warner Bros. Chairman Barry Meyer.

Winners of the Engineering Excellence Award, announced previously, include the Arch Platform by Arch Platform Technologies, OpenColorIO v.2 by Autodesk, Nuke by Foundry and NearTime by Mo-Sys Engineering.