Tag Archives: HPA Tech Retreat

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. 

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. 

 

 

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 Tech Retreat Sets Dates for March

This year’s HPA Tech Retreat will take place March 15-24 with panels, events and demonstrations that will appear as live and recorded content.

“As the pandemic struck our world and industry, our creative and technical community responded with incredible resourcefulness, innovation and ingenuity,” explains past president of HPA and member of the HPA Programming Committee, Leon Silverman. “We have adapted by changing the ways we work, increasingly calling on technology to enable and enhance the creation of content globally. This year’s Tech Retreat will focus on the learnings of this past year and the thoughtful, considered vision of some of our industry’s most important technical minds, providing those who attend a compass to navigate our future.”

HPA Tech Retreat 2021 is building an event that will launch its HPA Engage content portal and host the HPA Tech Retreat. “This is not a Zoom conference,” explains Seth Hallen, HPA president. “We began from the ground up to design an experience that is different from the many back-to-back video conferences that are now a routine part of our workdays. HPA Engage is designed to be an elegant access point to all of the events and content from the retreat and will continue after the event to be a vibrant, content-rich educational hub of information for our members.

“Mark Schubin has put another weighty conference program together, which assembles the industry’s leading technologists to share and explore important topics,” continues Hallen. “The Supersession will be breaking boundaries, rules and perspectives. JZ (Joachim Zell) has thoroughly outdone himself, spending his time during the pandemic helping seven global filmmakers redefine filmmaking in the era of COVID. Leon Silverman is programming the second day of the Supersession, with HPA partnering with MovieLabs.”

SCHEDULE HIGHLIGHTS:

The preliminary schedule has been unveiled and is being added to daily.

Thought Leadership Content Drops

Daily on March 15, 16, 17, 18, 19, 23, 24

Long-time Tech Retreat host Mark Schubin will offer an exploration of the panels and presentations being released each day on HPA Engage, the new content platform.

Welcome from HPA President Seth Hallen (HPA Tech Retreat Live)

March 15

A look at the year behind us and what’s ahead for HPA.

The Technology Year in Review – Mark Schubin (HPA Tech Retreat Live)

March 15

Mark Schubin takes the audience through a critical and informative look at both the most important and the most overrated technology developments of the previous year.

HPA Produced Documentaries

March 15

New to the Tech Retreat this year will be a series of “explainers” and mini documentaries from film producers Origin Point, who have created additional content that both documents the journey of our Supersession filmmakers and helps to fill in both the human and technology story of filmmaking during the pandemic.

Critical Conversations (HPA Tech Retreat Live)

March 16

Critical Conversations: Virtual Production – moderated by Carolyn Giardina, Tech Editor, The Hollywood Reporter

10:00 AM PST – 11:00 AM PST

Critical Conversations: Opera in the Pandemic – hosted by Schubin

11:00 AM PST – 12:00 PM PST

Guests include Kamala Sankaram of Experiments in Opera (first VR opera, first data-mining opera, the first Zoom opera and the first sci-fi serial opera), librettist Cerise Lim Jacobs of White Snake Projects (“Alice in the Pandemic” featuring live motion capture and computer animation and live performance), and director Eric Einhorn of On Site Opera (the first use of Google Glass for titles and creator of the first smartphone app for programs and titles and of one-on-one opera via phone).

Breakfast Roundtables (HPA Tech Retreat Live)

March 16, 23, and 24

Freed from the limitations of a physical event, the HPA Roundtables are expanding to accommodate a global audience. 30 tables are available for each of the five sessions below, with a limit of 10 active participants (and more “silent” observer seats). The current list of roundtables is here and more are being added daily.

March 16       Breakfast Roundtables       9:00 AM PST – 10:00 AM PST

March 16       Lunch Roundtables            12:00 PM PST – 1:00 PM PST

March 23       Breakfast Roundtables       9:00 AM PST – 10:00 AM PST

March 23       Lunch Roundtables            1:00 PM PST – 2:00 PM PST

March 24       Breakfast Roundtables       9:00 AM PST – 10:00 AM PST

 

HPA Tech Retreat Main Program

March 15-19

With dozens of speakers and important themes, the HPA Tech Retreat conference program puts deep knowledge and perspective in front of an audience of industry thought leaders and experts, opening a floodgate of important education and information.

Tech Retreat Innovation Zone (HPA Tech Retreat Live)

March 16,17, 23, 24

The Tech Retreat Innovation Zone is where the tools and technologies that are fueling a technological renaissance are available for both private or scheduled public demonstrations.  Current participating companies are listed here.

HPA Tech Retreat Supersession (HPA Tech Retreat Live)

March 23-24

Following the success of the 2020 HPA Tech Retreat Supersession, an even more ambitious event is planned for March 23 and 24, 2021, pushing to the very edge of what is possible today and beyond.

Supersession Day 1

March 23, 2021

10:00 AM PST – 1:00 PM PST

Seven movies, six cities, five audio mixes, four color spaces, three clouds, two live transmitters, one game:

Joachim “JZ” Zell will host a look at seven filmmakers working through the pandemic in London, Dubai, Ulaanbaatar (Mongolia), Mexico City, Brisbane and Hollywood. These productions tested health and safety protocols and redefined creative, connected, remote, collaborative, cloud-based workflows. Explore the tools, technology, workflows and filmmakers that will bring us a true look at next gen filmmaking, today.

Supersession Day 2

March 24, 2021

10:00 AM PST – 1:00 PM PST

“Live From the Cloud – Without a Net”

HPA and MovieLabs present “Live from the Cloud – Without a Net,” a never before seen or attempted real-time demonstration of production through editorial, VFX, conform, color, sound and delivery using 5G, and public and private hybrid cloud tools, infrastructure and workflows. All with an eye to where we are on our path to MovieLabs “2030 Vision.”   This promises to be a pivotal, historic day.

The Quiz (HPA Engage)

March 15, 16, 17, 18, 19 and 23

A HPA Tech Retreat favorite, Mark Schubin’s HPA Tech Retreat Quiz will be featured daily during the HPA Tech Retreat.

Silverman notes, “We have spent so many past Retreats talking about the future — this year we are living it and inventing it in real time. We are at this amazing critical juncture where we can see the promise of how all of these technologies and workflows can literally come together. And what will help us realize this promise is us coming together as an industry.”

In the coming days, more details for the HPA Tech Retreat will be announced. Registration for the HPA Tech Retreat is open, and is priced at $299 for non members, which includes individual HPA membership. Registration for HPA members is $199. The HPA Tech Retreat takes place thanks to the generosity of diamond title sponsor Adobe; registration sponsor Sohonet; gold sponsors Frame.io, GB Labs, NetApp, Ownzones, Signiant, and Vcinity; event sponsor Keycode Media; and silver sponsors Avid, Dalet, Dell Technologies, Unreal Engine, Blackmagic Design, and Zeiss.

Main Image: (L-R) Leon Silverman, Mark Shubin and Joachim “JZ” Zell

Video Coverage: HPA Tech Retreat’s making of The Lost Lederhosen

By Randi Altman

At the HPA Tech Retreat in Rancho Mirage, California, the Supersession was a little different this year. Under the leadership of Joachim (JZ) Zell — who you might know from his day job as VP of technology at EFILM — the Supersession focused on the making of the short film, The Lost Lederhosen, in “near realtime,” in the desert. And postPerspective was there, camera in hand, to interview a few of the folks involved.

Watch our video coverage here.

While production for the film began a month before the Retreat — with Steve Shaw, ASC, directing and DP Roy H. Wagner Jr., ASC, lending his cinematography talents — some scenes were shot the morning of the session with data transfer taking place during lunch and post production in the afternoon. Peter Moss, ASC, and Sam Nicholson, ASC, also provided their time and expertise. After an active day of production, cloud-based post and extreme collaboration, the Supersession ended with the first-ever screening of The Lost Lederhosen, the story of Helga and her friend Hans making their way to Los Angeles, Zell and the HBA (Hollywood Beer Alliance). Check out HPA’s trailer here.

From acquisition to post (and with the use of multiple camera formats, framefrates and lenses), the film’s crew were volunteers and includes creatives and technologists from companies such as AWS, Colorfront, Frame.io, Avid, Blackmagic, Red, Panavision, Zeiss, FilmLight, SGO, Stargate, Unreal Engine, Sohonet and many more. One of the film’s goals was to use the cloud as much as possible in order to test out that particular workflow. While there were some minor hiccups along the way, the film got made — at the HPA Tech Retreat — and these industry pros got smarter about working in the cloud, something that will be increasingly employed going forward.

While we were were only able to chat with a handful of those pros involved, like any movie, the list of credits and thank you’s are too extensive to mention here — there were dozens of individuals and companies who donated their services and time to make this possible.

Watch our video coverage here.

(A big thank you and shout out to Twain Richardson for editing our videos.)

Main Image Caption: AWS’ Jack Wenzinger and EFILM’s Joachim Zell

Our HPA Tech Retreat video coverage

Last month, tech folks from all aspects of post production gathered in the California desert to learn about new trends, tech and workflows at the annual HPA Tech Retreat.
They also got to mingle… a lot.

postPerspective was there and had the opportunity to capture some video of the goings-on and interview folks from Cinnafilm, MTI Film, FilmLight, SMPTE and more.

Click this link to watch them all!

HPA Tech Retreat — Color flow in the desert

By Jesse Korosi

I recently had the opportunity to attend the HPA Tech Retreat in Palm Desert, California, not far from Palm Springs. If you work in post but aren’t familiar with this event, I would highly recommend attending. Once a year, many of the top technologists working in television and feature films get together to share ideas, creativity and innovations in technology. It is a place where the most highly credited talent come to learn alongside those that are just beginning their career.

This year, a full day was dedicated to “workflow.” As the director of workflow at Sim, an end-to-end service provider for content creators working in film and TV, this was right up my alley. This year, I was honored to be a presenter on the topic of color flow.

Color flow is a term I like to use when describing how color values created on set translate into each department that needs access to them throughout post. In the past, this process had been very standardized, but over the last few years it has become much more complex.

I kicked off the presentation by showing everyone an example of an offline edit playing back through a projector. Each shot had a slight variance in luminance, had color shifts, extended to legal changes, etc. During offline editing, the editor should not be distracted by color shifts like these. It’s also not uncommon to have executives come into the room to see the cut. The last thing you want is the questioning of VFX shots because they are seeing these color anomalies. The shots coming back from the visual effects team will have the original dailies color baked into them and need to blend into the edit.

So why does this offline edit often look this way? The first thing to really hone in on is the number of options now available for color transforms. If you show people who aren’t involved in this process day to day a Log C image, compared to a graded image, they will tell you, “You applied a LUT, no big deal.” But it’s a misconception to think that if you give all of the departments that require access to this color the same LUT, they are going to see the same thing. Unfortunately, that’s not the case!

Traditionally, LUTs consisted of a few different formats, but now camera manufacturers and software developers have started creating their own color formats, each having their own bit depths, ranges and other attributes to further complicate matters. You can no longer simply use the blanket term LUT, because that is often not a clear definition of what is now being used.

What makes this tricky is that each of these formats is only compatible within certain software or hardware. For example, Panasonic has created its own color transform called VLTs. This color file cannot be put into a Red camera or an Arri. Only certain software can read it. Continue down the line through the plethora of other color transform options available and each can only be used by certain software/departments across the post process.

Aside from all of these competing formats, we also have an ease-of-use issue. A great example to highlight on this issue would be a DP coming to me and saying (something I hear often), “I would like to create a set of six LUTs. I will write on the camera report the names of the ones I monitored with on set, and then you can apply it within the dailies process.”

For about 50 percent of the jobs we do, we deliver DPX or EXR frames to the VFX facility, along with the appropriate color files they need. However, we give the other 50 percent the master media, and along with doing their own conversion to DPX, this vendor is now on the hook to find out which of those LUTs the DP used on set, go with which shots. This is a manual process for the majority of jobs using this workflow. For my presentation, I broke down why this is not a realistic request to put on vendors, which often leads to them simply not using the LUTs.

Workarounds
For my presentation, I broke down how to get around this LUT issue by staying within CDL compatibility. I also spoke about how to manage these files in post, while the onset crew uses equivalent LUTs. This led to the discussion of how you should be prepping your color flow at the top of each job, as well as a few case studies on real-world jobs. One of those jobs was a BLG workflow providing secondaries on set that could track through into VFX and to the final colorist, while also giving the final colorist the ability to re-time shots when we needed to do a reprint without the need to re-render new MXFs to be relinked in the Avid.

After a deep dive into competing formats, compatibility, ease of use, and a few case studies, the big take away I wanted to leave the audience with was this:
– Ensure a workflow call happens, ideally covering color flow with your on set DIT or DP, dailies vendor, VFX and DI representative
– Ensure a color flow pipeline test runs before day one of the shoot
– Allow enough time to react to issues
– When you aren’t sure how a certain department will get their color, ask!


Jesse Korosi is director of workflow at Sim.

HPA Tech Retreat takes on realities of virtual reality

By Tom Coughlin

The HPA Tech Retreat, run by the Hollywood Professional Association in association with SMPTE, began with an insightful one-day VR seminar— Integrating Virtual Reality/Augmented Reality into Entertainment Applications. Lucas Wilson from SuperSphere kicked off the sessions and helped with much of the organization of the seminar.

The seminar addressed virtual reality (VR), augmented reality (AR) and mixed reality (MR, a subset of AR where the real world and the digital world interact, like Pokeman Go). As in traditional planar video, 360-degree video still requires a director to tell a story and direct the eye to see what is meant to be seen. Successful VR requires understanding how people look at things, how they perceive reality, and using that understanding to help tell a story. Some things that may help with this are reinforcement of the viewer’s gaze with color and sound that may vary with the viewer — e.g. these may be different for the “good guy” and the “bad guy.”

VR workflows are quite different from traditional ones, with many elements changing with multiple-camera content. For instance, it is much more difficult to keep a camera crew out of the image, and providing proper illumination for all the cameras can be a challenge. The image below from Jaunt shows their 360-degree workflow, including the use of their cloud-based computational image service to stitch the images from the multiple cameras.
Snapchat is the biggest MR application, said Wilson. Snapchat’s Snapchat-stories could be the basis of future post tools.

Because stand-alone headsets (head-mounted displays, or HMDs) are expensive, most users of VR rely on smart phone-based displays. There are also some places that allow one or more people to experience VR, such as the IMAX center in Los Angeles. Activities such as VR viewing will be one of the big drivers for higher-resolution mobile device displays.

Tools that allow artists and directors to get fast feedback on their shots are still in development. But progress is being made, and today over 50 percent of VR is used for video viewing rather than games. Participants in a VR/AR market session, moderated by the Hollywood Reporter’s Carolyn Giardina and including Marcie Jastrow, David Moretti, Catherine Day and Phil Lelyveld, seemed to agree that the biggest immediate opportunity is probably with AR.

Koji Gardiner from Jaunt gave a great talk on their approach to VR. He discussed the various ways that 360-degree video can be captured and the processing required to create finished stitched video. For an array of cameras with some separation between the cameras (no common axis point for the imaging cameras), there will be area that needs to be stitched together between camera images using common reference points between the different camera images as well as blind spots near to the cameras where they are not capturing images.

If there is a single axis for all of the cameras then there are effectively no blind spots and no stitching possible as shown in the image below. Covering all the space to get a 360-degree video requires additional cameras located on that axis to cover all the space.

The Fraunhofer Institute, in Germany, has been showing a 360-degree video camera with an effective single axis for several cameras for several years, as shown below. They do this using mirrors to reflect images to the individual cameras.

As the number of cameras is increased, the mathematical work to stitch the 360-degree images together is reduced.

Stitching
There are two approaches commonly used in VR stitching of multiple camera videos. The easiest to implement is a geometric approach that uses known geometries and distances to objects. It requires limited computational resources but results in unavoidable ghosting artifacts at seams from the separate images.

The Optical Flow approach synthesizes every pixel by computing correspondences between neighboring cameras. This approach eliminates the ghosting artifacts at the seams but has its own more subtle artifacts and requires significantly more processing capability. The Optical Flow approach requires computational capabilities far beyond those normally available to content creators. This has led to a growing market to upload multi-camera video streams to cloud services that process the stitching to create finished 360-degree videos.

Files from the Jaunt One camera system are first downloaded and organized on a laptop computer and then uploaded to Jaunt’s cloud server to be processed and create the stitching to make a 360 video. Omni-directionally captured audio can also be uploaded and mixed ambisonically, resulting in advanced directionality in the audio tied to the VR video experience.

Google and Facebook also have cloud-based resources for computational photography used for this sort of image stitching.

The Jaunt One 360-degree camera has a 1-inch 20MP rolling shutter sensor with frame rates up to 60fps with 3200 ISO max, 29dB SNR at ISO800. It has a 10 stops per camera module, with 130-degree diagonal FOV, 4/2.9 optics and with up to 16K resolution (8K per eye). Jaunt One at 60fps provides 200GB/minute uncompressed. This can fill a 1TB SSD in five minutes. They are forced to use compression to be able to use currently affordable storage devices. This compression creates 11GB per minute, which can fill a 1TB SSD in 90 minutes.

The actual stitched image, laid out flat, looks like a distorted projection. But when viewed in a stereoscopic viewer it appears to look like a natural image of the world around the viewer, giving an immersive experience. At one point in time the viewer does not see all of the image but only the image in a restricted space that they are looking directly at as shown in the red box in the figure below.

The full 360-degree image can be pretty high resolution, but unless the resolution is high enough, the resolution inside the scene being viewed at any point in time will be much less that the resolution of the overall scene, unless special steps are taken.

The image below shows that for a 4k 360-degree video the resolution in the field of view (FOV) may be only 1K, much less resolution and quite perceptible to the human eye.

In order to provide a better viewing experience in the FOV, either the resolution of the entire view must be better (e.g. the Jaunt One high-resolution version has 8K per eye and thus 16K total displayed resolution) or there must be a way to increase the resolution in the most significant FOV in a video, so at least in that FOV, the resolution leads to a greater feeling of reality.

Virtual reality, augmented reality and mixed reality create new ways of interacting with the world around us and will drive consumer technologies and the need for 360-degree video. New tools and stitching software, much of this cloud-based, will enable these workflows for folks who want to participate in this revolution in content. The role of a director is as important as ever as new methods are needed to tell stories and guide the viewer to engage in this story.

2017 Creative Storage Conference
You can learn more about the growth in VR content in professional video and how this will drive new digital storage demand and technologies to support the high data rates needed for captured content and cloud-based VR services at the 2017 Creative Storage Conference — taking place May 24, 2017 in Culver City.


Thomas M. Coughlin of Coughlin Associates is a storage analyst and consultant. He has over 30 years in the data storage industry and is the author of Digital Storage in Consumer Electronics: The Essential Guide.

HPA Tech Retreat takes on VR/AR at Tech Retreat Extra

The long-standing HPA Tech Retreat is always a popular destination for tech-focused post pros, and while they have touched on virtual reality and augmented reality in the past, this year they are dedicating an entire day to the topic — February 20, the day before the official Retreat begins. TR-X (Tech Retreat Extra) will feature VR experts and storytellers sharing their knowledge and experiences. The traditional HPA Tech Retreat runs from February 21-24 in Indian Wells, California.

TR-X VR/AR is co-chaired by Lucas Wilson (Founder/Executive Producer at SuperSphereVR) and Marcie Jastrow (Senior VP, Immersive Media & Head of Technicolor Experience Center), who will lead a discussion focused on the changing VR/AR landscape in the context of rapidly growing integration into entertainment and applications.

Marcie Jastrow

Experts and creative panelists will tackle questions such as: What do you need to understand to enable VR in your environment? How do you adapt? What are the workflows? Storytellers, technologists and industry leaders will provide an overview of the technology and discuss how to harness emerging technologies in the service of the artistic vision. A series of diverse case studies and creative explorations — from NASA to the NFL — will examine how to engage the audience.

The TR-X program, along with the complete HPA Tech Retreat program, is available here. Additional sessions and speakers will be announced.

TR-X VR/AR Speakers and Panel Overview
Monday, February 20

Opening and Introductions
Seth Hallen, HPA President

Technical Introduction: 360/VR/AR/MR
Lucas Wilson

Panel Discussion: The VR/AR Market
Marcie Jastrow
David Moretti, Director of Corporate Development, Jaunt
Catherine Day, Head of VR/AR, Missing Pieces
Phil Lelyveld, VR/AR Initiative Program Lead, Entertainment Technology Center at USC

Acquisition Technology
Koji Gardiner, VP, Hardware, Jaunt

Live 360 Production Case Study
Andrew McGovern, VP of VR/AR Productions, Digital Domain

Live 360 Production Case Study
Michael Mansouri, Founder, Radiant Images

Interactive VR Production Case Study
Tim Dillon, Head of VR & Immersive Content, MPC Advertising USA

Immersive Audio Production Case Study
Kyle Schember, CEO, Subtractive

Panel Discussion: The Future
Alan Lasky, Director of Studio Product Development, 8i
Ben Grossmann, CEO, Magnopus
Scott Squires, CTO, Creative Director, Pixvana
Moderator: Lucas Wilson
Jen Dennis, EP of Branded Content, RSA

Panel Discussion: New Voices: Young Professionals in VR
Anne Jimkes, Sound Designer and Composer, Ecco VR
Jyotsna Kadimi, USC Graduate
Sho Schrock, Chapman University Student
Brian Handy, USC Student

TR-X also includes an ATSC 3.0 seminar, focusing on the next-generation television broadcast standard, which is nearing completion and offers a wide range of new content delivery options to the TV production community. This session will explore the expanding possibilities that the new standard provides in video, audio, interactivity and more. Presenters and panelists will also discuss the complex next-gen television distribution ecosystem that content must traverse, and the technologies that will bring the content to life in consumers’ homes.

Early registration is highly recommended for TR-X and the HPA Tech Retreat, which is a perennially sold-out event. Attendees can sign up for TR-X VR/AR, TR-X ATSC or the HPA Tech Retreat.

Main Image: Lucas Wilson.

Leon Silverman steps down, Seth Hallen named new HPA president

In a crowded conference room in Indian Wells, California, during the HPA Tech Retreat, HPA founding president Leon Silverman literally handed the baton to long-time board member Seth Hallen. The organization has also taken on a new name, the Hollywood Professional Association. More on that later.

Hallen, who joined the HPA board in 2007, is SVP of Global Creative Services at Sony DADC New Media Solutions. Silverman, who helped found the organization, will continue to serve on the board of directors in the newly created role of past president.

“It is a distinct honor to continue the important work that Leon has undertaken for this organization, and I am clearly dedicated to making the next phase of HPA a great one,” said Hallen. “Enabling our industry to evolve by fueling our community with ideas, opportunity and recognition remains our goal. I look forward to working with our incredibly talented and dedicated board and continuing our collaboration with our colleagues at SMPTE, and the staff, volunteers and community that are the heart and soul of HPA, as we build upon the work of the past 14 years and look toward the future.”

The HPA, which is now part of SMPTE, also announced newly elected board members, including Craig German, SVP Studio Post at NBCUniversal Media; Jenni McCormick, executive director of American Cinema Editors (ACE); and Chuck Parker, CEO of Sohonet. Newly elected board member Bill Roberts, CFO of Panavision, will assume treasurer responsibilities as Phil Squyres steps down from the post he has held since HPA’s founding. Squyres will remain on the board.

Wendy Aylsworth, past president of SMPTE, was named SMPTE representative. Barbara Lange serves as executive director of SMPTE and HPA. The new Board members join Mark Chiolis, Carolyn Giardina, Vincent Maza, Kathleen Milnes, Loren Nielsen and VP Jerry Pierce on the HPA board.

In commenting on the new HPA name, executive director Lange noted, “The nature of the work and responsibilities that our community is engaged in has changed, and will continue to change. After carefully exploring how to address this growth, it became clear that Professional more accurately and inclusively identifies the creative talent, content holders and global infrastructure of services, as well as emerging processes and platforms. As an organization, we are dedicated to seeing beyond the horizon to the wider future, and bringing a wide array of individuals and companies into the organization. Our new name and identity makes that statement.”

Ncam hires industry vet Vincent Maza to head up LA office

Ncam, makers of camera tracking for augmented reality production and previs, has opened a new office in Los Angeles, and they have brought on Vincent Maza to run the operation.

Maza spent much of his career at Avid and as an HD engineer at Fletcher Chicago. More recently he has been working with the professional imaging division of Dolby and with data transfer specialist Aspera. He is also a member of the board of directors of the HPA (Hollywood Post Alliance), now part of SMPTE. He will be in Indian Wells, California next week representing Ncam at the HPA Tech Retreat.

“2016 is going to be a great year for augmented reality and we believe we will see a huge uptake in people using it to make television more engaging, more exciting and more challenging,” commented Maza. “Ncam’s camera tracking technology makes augmented reality a practical proposition, and I am very excited to be at the heart of it and supporting our US presence.”

Ncam’s tracking system is able to achieve all six degrees of movement in camera location: XYZ position in 3D space, pan, tilt and roll, so even handheld cameras can be precisely tracked with minimal latency.

Broadcasters have embraced augmented reality with Ncam, including CNN, ESPN, Fox Sports and the NFL. This same technology is used to provide directors and cinematographers with realtime visualization of effects shots. Recent movies using the technology include, Avengers Age of Ultron, Edge of Tomorrow and White House Down.

Talking future workflows and future archives

By Tom Coughlin

This year’s HPA Tech Retreat, which took place in February in Indian Wells, California, had some interesting presentations and displays, pointing the way to the future of media and entertainment. But before I dig into some general observations and an update on the future workflows and archive solutions that were on display, I will share this: You likely have already heard that the HPA is now part of SMPTE, but the more recent bit of news is the organization is changing its name from the Hollywood Post Alliance to the Hollywood Professional Alliance. Ok, now let’s get to the tech talk…

In the CES Review at the HPA Retreat, Peter Putnum pointed out that there weren’t as many TVs on display as Continue reading

HPA Tech Retreat unveils updated sessions schedule

The Hollywood Post Alliance (HPA) has announced the final schedule for the 2015 HPA Tech Retreat, which is happening February 9-13 in Indian Wells, California. It’s the yearly gathering in the desert of where post pros and engineers talk technology and business strategy.

“As we enter our 21st year, the Tech Retreat continues to be one of those events you can’t afford to miss. The mix of topics, technology and top industry minds makes this event a yearly check-in with industry gurus and deep thinkers that seem to gather at the HPA every year in the desert,” says HPA president Leon Silverman. “Making the pilgrimage to the HPA Tech Retreat seems to provide so many of us with a check on the pulse of the entire industry.”

Here is a look as some of the speakers and sessions, but for a complete 2015 HPA Tech Retreat schedule click here. There are over 45 sessions presented during the course of the Retreat.

Highlights include:
•    The HPA Supersession – A full day of sessions focused on a shifting industry. Just when we thought we had mastered the transition to the “digital age,” we’re seeing new and fundamental shifts.
•    Keynote – Not Your Father’s Post
•    Cyber and Content Security: Time for a Strategy Change
•    Sensory Stimulation
•    Next-Generation of Cinema: New Technologies and Techniques: What they Mean for Filmmakers
•    Understanding the New Acquisition
•    From Snowflakes to Standards: Maintaining Creative Intent in Evolutionary Times
•    Drones for Dummies
•    The Annual Broadcasters Update
•    Personalized and Immersive Sound
•    DDP and IMF
•    The Cloud Demystified
•    Utilizing Fingerprinting Technology for Shot Matching
•    Enhancing the Creative Palette
•    Automatic Content Recognition

Among nearly 100 speakers, the lineup includes:
•    Wendy Aylsworth, Warner Bros.
•    Bill Bennett, ASC
•    Stephen Beres, HBO
•    Sara-Duran Singer, Netflix
•    John Fithian, National Association of Theater Owners
•    Barbara Lange, SMPTE
•    Carolina Lavatelli, Internet of Trust
•    Pete Ludé, Real D
•    Theresa Miller, Lionsgate
•    Loren Nielsen, Entertainment Technology Consultants
•    Daryn Okada, ASC
•    Vikram Phatak, NSS Labs
•    Bob Seidel, CBS
•    Skip Pizzi, NAB
•    Andy Shenkler, Sony DADC New Media Solutions
•    Leon Silverman, HPA
•    Masayuki Sugawara, NHK
•    Larry Thorpe, Canon
•    Mario Vecchi, PBS
•    Erik Weaver, Entertainment Technology Center at USC

In addition to the sessions there is a demo room where attendees could check out the latest gear. Plus the daily breakfast roundtables are popular as well. Check out this one from last year being run by Steven Poster, ASC.

Registration for the HPA Tech Retreat is strongly recommended. The Tech Retreat is a limited attendance event and seating is approaching capacity and expected to sell out. It is still possible to register, but pre-conference registration closes Monday, February 2, 2014, after which time only onsite registrations will be accepted, and those registrations are space-permitting. Full-conference as well as one-day registrations are available. Registration includes conference sessions, breakfast roundtables, lunch, demo room and social events.

Wohler bringing Tachyon Wormhole 2.0 to HPA Tech Retreat

Wohler Technologies has updated its Tachyon Wormhole version 2. This joint venture from Wohler and Cinnafilm provides automated file-based retiming and standards conversion in a single appliance. They will have the product on display at the upcoming HPA Tech Retreat taking place in Indian Wells, California, next month.

Wohler’s RadiantGrid Intelligent Media Transformation Platform provides the processing engine for the Tachyon Wormhole appliance, which runs Cinnafilm’s Tachyon algorithms. Tachyon Wormhole enables a plus or minus run-time adjustment of media assets by content owners or broadcasters while preserving the overall viewer experience including not only video and audio quality, but also closed caption integrity. By shortening or lengthening the run-time of program content, providers can meet the time requirements of a network without undertaking time-consuming, hands-on editing. (Check out postPerspective’s interview with Performance Post on how they use the system.)

Some Details
Among the updates to Tachyon Wormhole is segmented retiming. Rather than retime the file as a whole, operators can use timecodes to designate certain regions or segments of a media file to be retimed. In this manner, users can also exclude certain segments from retiming. For example, this functionality would allow the operator to prevent an opening credit sequence from being adjusted.

The new release of Tachyon Wormhole also will include an application-specific user interface that gives users a straightforward mechanism for preparing and launching a retiming project.

Tachyon Wormhole is available directly from Wohler and from a select network of value-added resellers. The new version 2 release is available now.

The Tachyon Wormhole product received an HPA Engineering Excellence Award last year.

Image: Hardik Shah, a Wohler quality assurance engineer, working with the new interface.

 

Where warmth, technology meet: HPA offers up Tech Retreat schedule

The yearly pilgrimage to the desert for engineers and post pros, the HPA Tech Retreat, is taking place in Indian Wells, California, from February 9-13.

There will be sessions on technology and trends, a small exhibit floor, breakfast roundtables where small groups get to focus on a particular topic or tech, and mingling… lots of mingling. And for those of you coming from colder climates, there will be sunshine and warmth. Not a frozen pile of snow in sight.

Here are some highlights of the Retreat, but click here for a full schedule:

Monday, February 9
Preregistration. Physics, Optics, and Electronics of Image Sensors is a pre-retreat course offered by Charles Poynton.

Tuesday, February 10
The day-long HPA Supersession kicks off the Tech Retreat with Shift Happens: Not Your Father’s Post, led by Leon Silverman with Michael Cioni. Even as some stability returns, fundamental changes continue in the creation, finishing and distribution of content. The Supersession takes a thoughtful look at these changes and ultimately offers insight about how to be prepared for them.

After the Supersession, the Demo Room opens its doors with a cocktail reception.

Wednesday, February 11
The highly anticipated annual Broadcasters Panel returns, as well as sessions including a CES Review; A Year in Review from Mark Schubin, From Smartphones to Cinema; Extended Color Gamuts; Contemplating the Expanding Canvas with Bill Bennett, ASC alongside other leading cinematographers; the Future of Cinema and many others.

Thursday, February 12
Sessions focused on topics as diverse as Maintaining Creative Intent; The Cloud Demystified; Role of Nonlinear Coding of the Television Image from NHK Science and Technology Research Laboratories; IP or not IP; and Drones for Dummies are among the many offerings in a day filled with panels and presentations.

Friday, February 13
As the week draws to a close, compelling presentations continue with Lightfield Capture and Post Update with Siegfried Foessel; Enhancing the Creative Palette While Preserving Intent from Camera to Consumer; the SMPTE Update; and more. The day closes up with a post-HPA Tech Retreat session, How The Great Depression Led to Cloud Computing.

“The Tech Retreat is not just a conference where the latest, greatest, most important and interesting technology and topics are displayed, presented, discussed, debated and sometimes even refuted — it is the closest thing to adult geek summer camp (held in the Palm Springs winter) that one can imagine,” says Leon Silverman, president of the HPA. “Come for the topics, stay for the people who can change your life. For the past 21 years, the Tech Retreat has truly been a place to meet the movers and the shakers right before they make their moves.”

HPA Tech Retreat Blog: the cloud, storage, metadata, more

By Tom Coughlin

Object storage is the key technology behind most cloud storage offerings and there were a number of exhibits at last week’s 2014 HPA Tech Retreat in Indian Wells, California, offering cloud-based storage of M&E content.

Zadara Storage is offering SAN/NAS-as-a-Service solutions with a Virtual Private Storage Array (VPSA). The VPSAs offer iSCSI block or NFS/CIFS file storage. The user keeps the keys that allow Continue reading