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18 2016 Nov

Industry Veteran Robert Stacy Joins AJA as Asia Pacific General Manager


Robert Stacey

Robert Stacey

AJA Video Systems has hired Robert Stacy as the company’s new Asia Pacific General Manager, based in Tokyo, Japan. Stacy joins the team with more than two decades of experience in the digital video technology business. “I have had many years of experience in this industry and firmly believe that AJA’s technology solutions are second to none, and look forward to expanding their reach across the Asia Pacific region,” said Stacy, “In the coming months, I look forward to building a dedicated team that is exclusively focused on promoting AJA’s video capture cards, streaming solutions, digital recorders, routers, cameras and more into the region.”

An industry veteran, Stacy joins AJA from Newtek, where he was the Vice President for the Asia Pacific region. From 2004 through 2014, Stacy was the head of Asia Media Products, LLC, where he worked as a sales and marketing partner for prominent digital video technology companies including Facilis, Telestream, Ensemble Designs, Promax Systems, Timecode Systems, and previously from 2005-2009, also with AJA. Stacy got his start in professional video working in sales and marketing roles at Avid and Media 100. He currently operates Asia Media Partners, LLC (AMP), and will build out a local staff across the region under the AMP banner.

“Robert has been a close friend of AJA for many years, and we’re happy to have him back in the family to drive sales and marketing across the APAC region,” said Nick Rashby, President, AJA Video Systems, “He’s a consummate professional, and he brings an incredible wealth of experience to our team, including a deep understanding of the professional and cultural needs of each of the respective regions he is overseeing.”

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18 2016 Nov

Herb Dow and the Non-linear Revolution

In the early 1980s, editor Herb Dow, ACE was cutting TV shows for executive producer David Gerber on the Culver City lot. “It was heaven,” says Dow. “I had a corner office with a big picture window, my assistant in another room, my car parked outside.” He moved to Universal, where he found himself in a small windowless room, working on a show that drove him to distraction. The combination pushed him to tell the head of post production he’d had enough and was quitting. “He told me they were doing a new show, ‘Still The Beaver,’ in the Oakwood Apartments on this new editing machine called VidiCut,” recalls Dow. “And he asked me if I’d be interested – and I said, sure.”

At the Oakwood Apartments, there were windows – and Adrian Ettlinger, a broadcast engineer who had pioneered non-linear editing with the CMX-600 and created instant replay. “I saw a 64K Commodore computer controlled by a light pen and six VHS decks,” recalls Dow. “The most interesting thing was something he called ‘the script,’ which gave every line of dialogue a number and let you call up every performance for that number.” That, he says, was “God’s gift,” since producers constantly wanted to see other performances. Dow was sold. Ettlinger asked to be Dow’s assistant editor, to see first-hand how an editor worked, which would allow him to improve the system.

Dow remembers asking Ettlinger for specific features, and then getting them the next day. Once, after three hours of work, the machine crashed. “Adrian had always told me to remember to save everything,” says Dow. “When I told him the machine crashed, he asked if I’d saved it, and of course I said no.” He had lost everything, a blow to an editor who had “never lost a frame of film in my life.” Dow told Ettlinger that editors are usually too caught up in their work to remember to save. To fix that, Ettlinger created auto-save.

What started as one machine became a business, Cinedco, with financing and support from Milt Forman, who was also behind Steadicam. The name of the system changed to Ediflex when there was a possibility of funding from Arriflex; instead, New World Pictures bought 50 percent of the company in 1983. Ediflex’s first real-world test came when Lorimar vice president of post Chuck Silvers asked Dow to train the respected ACE editor Fred Berger – who was editing “Dallas” – on the system. “He was 69 and had never seen a computer,” says Dow, who recounts that Berger was soon up and running with Ediflex. Soon, the Cinedco system was being used on “Knots Landing,” “Falcon Crest,” and “Dallas,” three big shows of the era.

With stupendous growth, Dow and his Ediflex colleagues found themselves in full training mode. “At one time we had 24 trainers, all of them editors or assistant editors,” says Dow. “We’d send the trainer to the editing room and he’d stay as long as needed.” The free, comprehensive training wasn’t the only plus. Dow could easily convince post production heads based on the economics. “It was $2,500 a week for our equipment,” he says. “And Lorimar said they spent $3,000 to $3,500 a week on print dailies. So I could tell them we would save them $500 to $1,000 a week.” Within two years, says Dow, the company controlled 80 percent of the market. “We buried EditDroid and Touchvision because of our service and training,” Dow says. “And, as an editor, I spoke the language.” In 1986, Cinedco won a Technical Emmy for “Design and Implementation of Electronic Editing Systems for Film Programs.”

The downfall came when Cinedco’s owners decided to use the company’s cash reserve to make an “interactive” movie, by which the cinemagoers decided the direction of the movie at several points by voting. The film was a flop – and the money was gone. “We had just built a digital Ediflex that even people from Avid and Lightworks liked, because we had the script in it now and a great controller from the guys who built the Nintendo controller,” Dow says. But the company closed its door in the early 1990s, selling the script patent to Avid.

The impact that digital nonlinear editing had on the film/TV landscape is hard to overstate. Dow notes how, with film, if the editor made a mistake and had to splice it back, everyone saw it in the screening, which could draw unwelcome attention. That put a damper on experimenting in the edit suite. And if a producer wanted to see a version from three weeks previously, it wasn’t possible unless there was a B&W dupe, which few productions could afford. “Being able to save versions, I could always put it back the way I wanted,” says Dow. “Being able to look at all the performances, and being able to try anything I wanted freed me up. As an editor, it gave me the greatest freedom I’d ever had.”

Although Dow is receiving a Lifetime Achievement award, he’s still actively involved in the latest revolution in the post production industry: post production in the cloud. In charge of global sales at BeBop, a cloud technology company, he’s focused on getting the hardware out of the edit suite, another massive game changer. “I was interested in the cloud two years ago,” says Dow. “Our motto is keep the art, lose the hardware. Post production will all be in the cloud.” Post in the cloud saves money, says Dow, and it will allow editors to work from anywhere. The company is currently doing “proof of concept” tests with several major media companies.

“Post production is my fraternity/sorority that I belong to,” says Dow. “I’m still about making it easier for editors. With Ediflex, I was able to help all those editors by making their jobs easier. And, now, by getting rid of hardware, we’re enabling them to get out of those small windowless rooms many of them are still working in. I have my Avid wherever I want my Avid to be.”

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2 2016 Nov


A full day of mentorship and community for tomorrow’s industry leaders from HPA and SMPTE

 2 November 2016 (Los Angeles, CA) – The inaugural class of the Young Entertainment Professionals (YEP) Program launched last week during the Society of Motion Picture and Television Engineers® (SMPTE®) 2016 Annual Technical Conference & Exhibition (SMPTE 2016) in Hollywood. Sponsored by the Hollywood Professional Association (HPA) and SMPTE, YEP was created to encourage worthy individuals to follow a career in the media content industry and support them with connection and community. The first YEP group included applicants from a variety of disciplines and locales.

Inaugural class of the Young Entertainment Professionals (YEP) Program

Inaugural class of the Young Entertainment Professionals (YEP) Program

Aspiring YEP program participants were asked to outline their interests in the content creation industry and goals for their careers, and applications were supported by recommendations from supervisors. Incubated by HPA’s Women in Post, the YEP Committee, co-chaired by Kari Grubin and Loren Nielsen, considered a number of highly qualified applicants for inclusion in the program. Grubin commented, “The caliber of applicants was impressive, and the inquiries came from young men and women who are at work in complex and responsible roles, motivated to take the next step in their careers. The dedication to their current positions as well as their clear-eyed focus on the future was exactly what we had hoped for this debut class. The committee was delighted to work with the YEP group this week, and will remain with them on their journey.”

YEP Committee Members L-R: Belinda Merritt, Kari Grubin, Laura Thommen, and Loren Nielsen

YEP Committee Members L-R: Belinda Merritt, Kari Grubin, Laura Thommen, and Loren Nielsen

The first class of YEP includes 29 young men and women between the ages of 21 and 29, hailing from the US and beyond. They hold responsible creative and technical posts at studios, facilities, and tech companies, and in some cases are accomplished individuals from outside of the industry. The structured daylong event began with introductions from the YEP Committee members, HPA President Seth Hallen, SMPTE-HPA Executive Director Barbara Lange and SMPTE President Robert Seidel. Post-production guru Garrett Smith presented a history of cinema. Over lunch, YEP participants split into mentor-led roundtables. Mentors included industry leaders from studios, major vendors and manufacturers, and will have an ongoing relationship with the class. The afternoon included guided tours of the exhibition area by industry insiders, and attendance at the SMPTE panel, Re-Inventing Entertainment Engineering: How to Blend the Experience of Yesterday with Millennials’ Vision of Tomorrow. The group gathered at the end of the day for an interactive wrap up session and a stop at the SMPTE Oktoberfest party, followed by the SMPTE-HPA Student Film Festival at the Egyptian Theater.

HPA president Seth Hallen noted, “The formation of the YEP program and spending time with these amazing young people is inspiring. It became clear in our day together that mentoring is a two-way street, and they bring as many insights for us as we bring to them. As our industry continues to change and its complexities deepen, this group is proof that the future is in great hands.”  The YEP program is but one of the mentoring initiatives undertaken by the HPA. Hallen continued, “In the next few months, the HPA Board will unveil additional mentoring initiatives to nurture and launch the next generation of professionals. YEP is an auspicious start to our efforts.”

For further information, visit

About the Hollywood Professional Association
Hollywood Professional Association (HPA) serves the professional community of businesses and individuals who provide expertise, support, tools and the infrastructure for the creation and finishing of motion pictures, television, commercials, digital media and other dynamic media content. Through their partnership with the Society of Motion Picture and Television Engineers® (SMPTE®), the leader in the advancement of the art, science and craft of the image, sound, and metadata ecosystem, the HPA continues to extend its support of the community it represents. Information about the HPA is available at

About the Society of Motion Picture and Television Engineers® (SMPTE®)
For the past 100 years, the people of the Society of Motion Pictures and Television Engineers (SMPTE, pronounced “simp-tee”) have sorted out the details of many significant advances in entertainment technology, from the introduction of “talkies” and color television to HD and UHD (4K, 8K) TV. Since its founding in 1916, the Society has earned an Oscar® and multiple Emmy® Awards for its work in advancing moving-imagery education and engineering across the communications, technology, media, and entertainment industries. The Society has developed thousands of standards, recommended practices, and engineering guidelines, more than 800 of which are currently in force.

SMPTE’s global membership today includes 7,000 members, who are motion-imaging executives, engineers, creative and technology professionals, researchers, scientists, educators, and students. A partnership with the Hollywood Professional Association (HPA®) connects SMPTE and its membership with the professional community of businesses and individuals who provide the expertise, support, tools, and infrastructure for the creation and finishing of motion pictures, television programs, commercials, digital media, and other dynamic media content. Information on joining SMPTE is available at

Media Contact:
ignite strategic communications
christine purse | kate eberle
+1 818 980 3473 | chris mobile: +1 323 806 9696 |

31 2016 Oct

Victoria Alonso Wows Crowd at Annual Women in Tech Luncheon

Marvel Exec Talks Opportunity, Community

It was a packed room and an enthusiastic crowd that greeted Victoria Alonso, executive vice president of physical production for Marvel Studios, who spoke at the annual Women in Technology luncheon on 24 October, presented by HPA and SMPTE®. Attendees were eager to hear Alonso’s take on women in visual effects and opportunities in entertainment technology. The conversation with Alonso was moderated by Kari Grubin, co-chair of HPA Women In Post and Vice President, Mastering at The Walt Disney Studios.

Alonso noted that a mixed playing field is the goal, saying “Our rooms should be 50/50. If any of you — men or women — can lift women up, we’ll all be better for it.” She also noted that elevating the environment is ts a shared responsibility to act, highlighting  three things that women can do, immediately, to help. “Make three calls, today.” That means, make one call on behalf of you want to help, one for someone that you might not want, and make one for yourself.  That simple act, Alonso said, will have immediate impact.

Victoria Alonso and Kari Grubin - (Photo by Ryan Miller/Capture Imaging)

Victoria Alonso and Kari Grubin – (Photo by Ryan Miller/Capture Imaging)

Alonso is an exuberant and consistent voice advocating for women to play key roles in the visual effects (VFX) sector of the industry. Over the course of her career, Alonso’s extensive credits include an array of VFX-driven projects, including Big Fish, Kingdom of Heaven, Guardians of the Galaxy, Thor, The Avengers, Thor: The Dark World, Avengers: Age of Ultron, Iron Man, Captain America: The Winter Soldier, Captain America: Civil War, and Ant-Man, to name a few. Dr. Strange, Guardians of the Galaxy Vol 2., Thor: Ragnarok and Avengers: Infinity War are on the horizon between now and 2018. Alonso is one of the few women to ever hold a position as physical production chief at a major studio. She has been a member-at-large of the Academy of Motion Picture Arts and Sciences (AMPAS) since 2013.


31 2016 Oct

IHSE and AVID Collaboration

IHSE’s keyboard/video/mouse switching products are a critical part of media operations around the world. IHSE teams up with some of the most highly respected equipment and service providers in the business to make their products and installations even better for their customers, and Avid is one such partner.

press_AVID_protools_dracoteraThe most recent collaboration between Avid and IHSE combines the latest KVM network capabilities with the Avid Pro Tools | S6 modular audio-mixing control surface to better integrate switching between multiple digital audio workstations. For sound engineers who rely on the Pro Tools | S6, instant access is critical to insure you never lose your attention span. Integrated KVM create a seamless approach to workflow management.




31 2016 Oct

SMPTE HPA Student Film Festival announces winners

On the evening of Wednesday, 26 October, at the historic Egyptian Theater, the SMPTE-HPA Student Film Festival unspooled an impressive array of student made shorts that included animation, virtual reality, and live action entries.  Jurors curated the selected shorts from a record number of more than 250 submissions from more than 46 countries.

SMPTE-HPA Student Film Fest

Seth Hallen, HPA President noted, “The wealth of entries for this year’s festival was inspiring.  The work was outstanding and imaginative, and it is wonderful to see entries from students from a wide array of global educational institutions. Our jurors faced quite a difficult challenge choosing winners from the high caliber of submissions we received. As the festival screenings demonstrated, it was an excellent and competitive field, and one that included the first high school student to win a category! Looking at these entries, winners, and nominees, I am eager to continue enjoying the great works these budding young artists have in store for us as their careers unfold.”

The complete list of winners can be found here:

31 2016 Oct

HPA Young Entertainment Professionals (YEP) Make Auspicious Debut

On October 26, the inaugural class of Young Entertainment Professionals was introduced to the HPA community through a series of presentations, mentorship events, and exhibition tours at the annual SMPTE Technical Conference and Exhibition.

The daylong event began with introductions from the YEP Committee members, HPA President Seth Hallen, SMPTE-HPA Executive Director Barbara Lange and SMPTE President Robert Seidel. Post-production guru Garrett Smith presented a history of cinema. Over lunch, YEP participants split into roundtables led by industry mentors from studios, major vendors and manufacturers. The afternoon included guided tours of the exhibition area by industry insiders, a stop at the SMPTE Oktoberfest party, and the SMPTE-HPA Student Film Festival.

HPA YEP 2016 inaugural class

The first class of YEP includes 29 young men and women between the ages of 21 and 29, hailing from the US and beyond. They hold responsible creative and technical posts at studios, facilities, tech companies and in some cases accomplished individuals from outside of the industry.

HPA president Seth Hallen noted, “The formation of the YEP program and spending time with these amazing young people is inspiring. It became clear in our day together that mentoring is a two-way street, and they bring as many insights for us as we bring to them. As our industry continues to change and its complexities deepen, this group is proof that the future is in great hands.”



31 2016 Oct

Here’s to Award Season!

Jenni McCormick, Executive Director American Cinema Editors, Board Member HPA


Jenni McCormick

Tis the season! Not for turkey and stuffing, as you may be thinking. No, it’s that exhilarating time of year commonly referred to as “Award Season.”  Some folks dust off their fancy dress shoes, while others pull their clipboards out of mothballs, and prepare for the wild ride of submissions, judging and voting! Such is the exhilarating rush that goes along with menu planning, seating charts and presenter corralling.

Sure, the general public is used to seeing actors and musicians onstage, clutching a shiny thing and thanking their collaborators, parents, agents and preschool teachers. For all the attention spread around at those kind of events, more and more folks are beginning to take notice of the lesser known ceremonies; the ones that do their best to honor each of the important aspects of filmmaking, technology and entertainment, and the people behind all the flash. In fact, these people may have invented “flash.”

Film and Sound Editing, Visual Effects and Color Grading don’t get mentioned every day, but we see the magnificent work every time we are entertained by motion pictures, or interact with entertainment content in any of countless formats and platforms. And for those of us who spend October thru OscarMonth (my pet name for February) attending a gaggle of award ceremonies honoring each and every aspect of filmmaking, one of the most enjoyable ways to kick off the season is none other than the HPA Awards, now in its 11th year. Produced by the Hollywood Professional Association, this event brings the artists who usually work alone in dark rooms into the well-deserved spotlight. The HPA Awards honor innovators in technology and engineering and those who have spent their careers in collaboration with other artists, making the mere dream of a story into a reality.

In talking to attendees of the many “craft” ceremonies which honor brilliance behind the scenes, there is a feeling of gratitude toward the HPA Awards. Post-production is an intricate beast, difficult to define and often misunderstood, and the HPA Awards shine a light on those who often go unrecognized for their contributions. Those supremely talented individuals behind the scenes, helping to tell stories, working tirelessly on projects which bring so much joy to fans around the world. And it’s all done with huge collaborative effort, as only our creative industry can bring.

Last year’s HPA Lifetime Achievement Honoree, Leon Silverman, beautifully put into words what makes this part of the industry special when he said, “What has made my career and what makes this industry so great is the willingness, in fact the compulsion, of the people in the production and post-production industry to help and teach each other.  For we have been and continue to be responsible in our generation for ushering in a new era in our industry, one in which creativity is influenced and inspired by technology.”

I’m looking forward to spending November 17 enthusiastically applauding colleagues and friends    as they are recognized for their incredible achievements in editing, color grading, video effects, sound, and related endeavors at   the beginning of the run for OSCARMonth. It will be a welcome opportunity to toast the hard work and the joy of creating stories that move audiences around the world, whether from a seat in theaters, in front of a television set, or anyplace else there’s a screen.I hope to see you there.

31 2016 Oct

Insights from Michelle Munson, Winner of The HPA 2016 Charles S. Swartz Award

By Debra Kaufman

Michelle Munson

Michelle Munson

On November 17, at the HPA Awards, Michelle Munson, co-inventor and CEO of Aspera, will receive the Charles S. Swartz Award, for significant impact across diverse aspects of the industry. Also that evening, the company’s Aspera FASP Stream will receive a 2016 Engineering Excellence Award for its “turnkey application software enabling live streaming of broadcast-quality video globally over commodity Internet networks.”

Munson, who holds dual B.Sc. degrees in Electrical Engineering and Physics, was a Fulbright Scholar at Cambridge University where she received a postgraduate diploma in computer science. She is also the youngest recipient named a KSU College of Engineering Alumni Fellow, which she was granted in 2006, and has received national recognition and numerous achievement awards for her work.

HPA NewsLine spoke with Munson about her career, her thoughts on the media and entertainment industry, and what she sees for the future. She credits her mentors, both technology entrepreneurs and academics, who nurtured her career in the early days as she joined several startups and worked at the IBM Almaden Research Center. Munson says that several factors came together that precipitated the founding of Aspera in 2004. “The Internet becoming a mature infrastructure that businesses had access to and was available globally,” she says. “There was also an emerging interest in content, not just data, over the Internet.”

On the technology front, she adds, there had been attempts at multicasting for scalable distribution with a network routing layer and “point solutions,” or WAN gateways to improve performance at a hardware level. “There seemed to be an opening for an application layer approach to data movement or transport,” she says. “There was a need for a new layer in the logical stack that would sit on top of the network infrastructure and provide those abilities.” In her earlier work at startups, Munson had also spent a lot of time with customers, where she became closely acquainted with emerging problems in the media and entertainment industry. “They had an interest and need to conveniently move data,” she says. That sparked her own intellectual curiosity to move forward and, with co-founder/vice president of engineering Serban Simu, she started Aspera.

Munson has her own perspective on where the industry is going. “Here we are, over a decade later, and a couple of big trends have emerged from the Internet maturing,” she says. “The first is the interoperability of live data with what we think of as store-forward or file-based transport. The appetite for pumping live video anywhere and everywhere is driving the need for a highly predictable experience and, at Aspera, we’re deeply involved with that, as evidenced by Aspera FASP Stream.” She’s also excited about “the development of new architectures for data distribution.” “When I was starting my career, content delivery networks were in their infancies,” she says. “The cloud has consolidated bandwidth and compute resources. Without that, you’d have to have data centers and hardware and your own bandwidth.”

Coming up in the industry when she did – she was the only female physics student and one of two in engineering in her undergraduate studies has given her a unique perspective. “I do feel like the doors are open now in so many ways,” she says. “There’s an appetite to cultivate female talent – and other under-represented folks as well. The effort is huge and sincere.” She notes that some of the skew towards men in sciences such as physics seems to be cultural. “Thanks to Serban, I’m knowledgeable about Eastern Europe where many of the computer scientists and engineers are women,” she says. “ I think it’s changing here. I see more and more women in computer science – and we hire them.”

For her, one of the “great misnomers” about this field of technology is that it “isn’t sufficiently exciting, impactful or glamorous.” “And it’s all those things,” she says. “I think that’s not well understood and people branch off [into other fields] before they see those benefits. I think it’s improving but culturally there’s a lot of work to do.”

With regard to the Charles S. Swartz Award, Munson declares herself “grateful and humble.” “It’s a stunning award,” she says. “I’m hugely grateful and very surprised.” She credits the media and entertainment industry for its embrace of new technology. “HPA and SMPTE have had a massive impact on what we’ve chosen to do at Aspera,” she says. “Without those organizations, we wouldn’t be who we are. I don’t know any other industry that has that appetite for technology and innovation. Because it’s creatively based, the industry will try new things all the time – and that’s how you get new technology off the ground.”

28 2016 Sep

HPA Women in Post and SMPTE Present the Women in Technology Luncheon


WIT Lunch

The Women In Technology luncheon is set for Monday, 24 October during the SMPTE annual conference in Hollywood. Kari Grubin (Vice President, Mastering, The Walt Disney Studios) will moderate a conversation with Victoria Alonso, Marvel Studios’ Executive Producer and Executive Vice President of Physical Production. An engaging industry leader, Alonso oversees all physical production, post-production and production technical operations for the Studios. She was executive producer on Captain America: Civil War, 2015’s Avengers: Age of Ultron and Ant-Man, as well as a string of Marvel hits including Guardians of the Galaxy, Captain America: The Winter Soldier, Thor: The Dark World and Iron Man 3. Alonso is currently executive producing Marvel’s upcoming features, including Doctor Strange, Avengers: Infinity War, Thor: Ragnarok and Guardians of the Galaxy 2. Her other credits include Ridley Scott’s Kingdom of Heaven, Tim Burton’s Big Fish and Iron Man.

For more information, visit SMPTE 2016 Annual Conference.