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7 2018 Mar

Hollywood Professional Association Tech Retreat II

Last time, I talked about the events on Monday and Tuesday before the Hollywood Professional Association (HPA) Tech Retreat began. This time, some notes about the actual retreat—the first day. I kept calling it the Hollywood Professional Alliance because for years it was called the Hollywood Post Alliance; this time I have it right.

These are the things that stuck out for me. I know that some of the topics aren’t directly related to editing but they represent what’s going on in the Media and Entertainment industry. I find it useful to pay attention to what’s happening there.

Read more at HDVideo Pro

7 2018 Mar

HPA 2018 Technology Year in Review by Mark Schubin

The annual HPA Tech Retreat took place last month and Program Chair Marc Schubin once again delivered his Technology Year in Review presentation. This is a re-recording of the presentation, which was originally presented at the HPA Tech Retreat, February 21, 2018, at the J. W. Marriott Resort & Spa, Palm Desert, CA.

Watch the video at Schubin Cafe

7 2018 Mar

HPA Tech Retreat: The production budget vs. project struggle

“Executive producers often don’t speak tech language,” said Aaron Semmel, CEO and head of BoomBoomBooya, in addressing the HPA Tech Retreat audience Palm Springs in late February. “When people come to us with requests and spout all sorts of tech mumbo jumbo, it’s very easy for us to say no,” he continued. “Trust me, you need to speak to us in our language.”

Read more at postPerspective

6 2018 Mar

HPA 2018 Tech Retreat: Richard Welsh on HPA UK

Richard Welsh introduces the new HPA Creative Tech Conference that takes place June, 27, 2018 in Soho, London.

Watch the video at postPerspective

6 2018 Mar

HPA Tech Retreat 2018: Richard Welsh talks AI

Richard Welsh summarizes his AI panel at HPA TR-X 2018, which focused on AI today and the future, and how to use it for the good of the industry.

Watch the video at postPersepective

6 2018 Mar

HPA Tech Retreat 2018: FilmLight’s Peter Postma

FilmLight’s Peter Postma was showing off Baselight 5.0, which includes new creative offerings like the ability to do paint and grid warping and other finishing tools. Baselight can also now deliver IMF content.

Watch the video at postPerspective

6 2018 Mar

HPA Tech Retreat 2018: Fortium’s Mathew Gilliat Smith

With security more of a concern, Fortium’s Media Seal encrypts your assets with access control by individual file and individual user.

Watch the video at postPerspective

6 2018 Mar

HPA Tech Retreat 2018: MTI Film’s Larry Chernoff

MTI Film was at the HPA Tech Retreat this year showing a preview of Version 5 of its Cortex product. They are showing a new process for organizing IMFs as well as metadata editing for DolbyVision. Watch Larry Chernoff give us a quick rundown of its offerings.

Watch the video at postPerspective

1 2018 Mar

SMPTE and DPP collaborate on first SMPTE specification

SMPTE and the Digital Production Partnership (DPP) have collaborated on a pilot project in an attempt to define a prototype SMPTE Specifications process.

The two organisations have delivered the first draft SMPTE Specification, which focuses on the use of the Interoperable Master Format (IMF), or SMPTE ST 2067, for broadcast and online applications.

Read more at TVBEurope

28 2018 Feb

2018 HPA Tech Retreat: What We Heard About HDR, HFR, ATSC 3.0, ACESnext and More

The HPA Tech Retreat this year was bigger than ever and just as fascinating, as it touched on topics as disparate as high dynamic range, high frame rates, ACES, artificial intelligence and computer vision. Here’s a high-level summary.

High Dynamic Range (HDR)

Panelists described the ongoing integration of HDR into production and post pipelines, as well as consumer devices. Dolby VP, Technology Pat Griffis clarified the basic definition of HDR which, he said, is more accurately characterized as color volume. “HDR has taken the lid off Pandora’s box and made many more colors available, not just contrast but brightness,” he noted, defining color volume as “the 3D palette of all the colors that can be reproduced at all allowable intensities.”

Read more at Studio Daily