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22 2018 May

Asa Shoul On Digital Coloring

In 2017, digital colorist Asa Shoul was honored with the HPA Award for Outstanding Color Grading – Television for the 2016 “Smoke and Mirrors” episode of Molinare Studio’s hit The Crown, which streams on Netflix. He spoke to HPA Newsline about his career as a colorist, the evolution of technology and his advice to young people eyeing a career in the digital color suite.

Shoul has graded a long list of high-profile films, from the recent Baby Driver, Isle of Dogs and Annihilation to, early in his career, Love Actually, The Constant Gardener, and United 93. His path to becoming a colorist began before college, when he discovered a passion for photography. “I basically lived in my dark room at home for a year and used to cut shapes from cardstock to hide or reveal areas within a photo when printing,” he says. A few years later, he was working as an assistant editor at Framestore when it bought a Rank Cintel MK-III telecine, “It had some of the first very simple shape tools, and I realized that this was similar to what I’d been doing in the darkroom,” he says. “I switched from editing to telecine and never looked back.”

In those early days, to create “strange and interesting looks,” he introduced items such as candy wrappers, combs, and shards of glass in the film gate. “I also used a video mixer to combine layers of images or key and soften highlights,” he recalls. “Although it’s now all digital, I still love to experiment by finding new ways to play with an image, such as combining different grades through shapes or keys, as you might Photoshop layers.”

At Framestore, Shoul began using the Baselight grader from London-based FilmLight. “I had a hand in its development, mainly through requesting features,” he says. “Because the grading is usually the last thing to be done, and time pressure is enormous, we often receive VFX very late and might not have time for fixes or further revisions. We developed techniques on Baselight to be able to ‘fix’ or ‘help’ the VFX.” Now, says Shoul, the digital colorist often does “the bulk of the smaller VFX work in the grade.” “We might paint out a satellite dish in a period film or do some beauty work on an actor’s tired eyes or blend in smoke or stars in a shot,” he says. “We also work closely with the VFX vendors to see if we can take on some of their work if required.”

Shoul started off grading commercials, pop promos and TV, and then evolved into feature films. In his feature film work, Shoul says he loves sci-fi and period pieces. He is currently working on the Ralph Fiennes-directed “The White Crow,” set in 1970s Paris and Russia and shot on 16mm film. “It just looks wonderful before I do anything to it,” he says. With the rise of high-quality TV series, Shoul also found himself returning to grading TV programs, beginning with HBO’s Generation Kill. “It was the first time we approached a TV program – in fact a series – in the same way that we had a feature film,” he says.

With every project, he likes to be involved from the script stage. “With the filmmakers, we discuss various ideas and approaches and pass references back and forth,” he says. He’s also involved in tests for hair, make-up and costumes. For The Crown, for example, cinematographer Adriano Goldman and Shoul carried out extensive make-up tests. “Adriano and I would grade the tests with our desired look and then make JPEGs for makeup to view,” he explains. “Once approved we’d make LUTs for production to use during filming and for dailies.”

When Shoul starts the final grade, the cinematographer isn’t always available, having moved on to the next project. “We might do a ‘color bible’ day when the production is still editing, or do a remote session where I’m in London and they’re in a grading theater somewhere else in the world watching me work,” he says, noting that he and director Wes Anderson did exactly that for Isle of Dogs. “When you have a good relationship with a cinematographer, after a few collaborations, you get a kind of shorthand of what they want or don’t like, and it feels very natural and easy,” he adds. “With new clients, it can take a day or so for me to see an image through their eyes. I have to learn the way they see or like an image to be.”

For young people with a yen to become a digital colorist, Shoul advises they go to art galleries and photographic bookshops and watch as many films from different eras as possible. “Look at where your eye is drawn to and how the artist/photographer has achieved this,” he says. “Try and emulate this in Photoshop or a grading system. Take an image and try to change it to feel like dawn, then sunset, then happy and of course, romantic. Take an image to the breaking point and then see where you feel the image wants to sit, where it feels natural and unforced.” To get a first job, he recommends grading film school student projects for free, to build a reel.

 

 

25 2018 Apr

Testronic Expands Film & TV Operations in New Bangkok Office; Operations will focus on Film, Television and Games

Testronic logo 500Testronic, the leader in quality assurance (QA), localization services and compliance for the film, television and games industries, has opened an office in Bangkok, Thailand, solidifying its expansion into the Asia film, television, and games market.  The Thailand office adds to the company’s existing sites in the US, UK, and Poland. Lily Gavin-Allen has been appointed as head of Business Development to lead the new push into the territory. Gavin-Allen brings extensive experience in the Asia market as a business development and localization specialist.

In North America and Europe, Testronic is a trusted provider of localization and QA services specializing in film and television, and games. In expanding into APAC, Testronic will offer FQA and content testing to the new breed of film and TV distribution platforms and content creators, both in Asia and with distribution in the region. Jason Gish, senior VP and GM of US Operations commented, “We are excited about the opportunity to service the film and TV clients in the region. As a myriad of new companies enter the marketplace, Testronic is ready to partner with them to ensure quality of that content across Asian territories as we do in our global operations.”

The Bangkok office will also serve the Asia-Pacific market, which has been the dominant region in the global games industry for many years. The growth in the Chinese mobile games sector in particular is further consolidating the region’s importance as a market. “This is another significant move for Testronic,” concluded CEO Dominic Wheatley. “Last year, Testronic expanded its testing unit in Warsaw whilst the London and Burbank offices also saw expansion. Opening our Asia office is a logical next step.”

Gavin-Allen commented on her new role, “I am excited to be joining Testronic at such a pivotal time for the industry. “With the Asia market expanding into the Western market, and vice versa, Testronic is perfectly positioned to provide a bridge between the two.”

Gish concluded, “Testronic has 20 years of experience in this industry, and the office in Bangkok is another step in growing our services to serve the global film and television community at the highest level.”

The Bangkok office is located at 571 RSU Tower (Unit 903), Soi Sukhumvit 31, Sukhumvit Road, Klongton Nuea, Wattana.

 

 

 

25 2018 Apr

Pixelogic Announces Digital Cinema Services

pixelogicPixelogic the innovative and fully integrated provider of localization and distribution services, has unveiled plans to deliver global digital cinema services this summer. The company will launch these services with a total of 12 projector-lit screening rooms within its Burbank and London locations. Digital cinema expansion to its Culver City, CA and Cairo facilities are planned for later in 2018 with further expansion planned in 2019.

Pixelogic digital cinema capabilities will enable full end-to-end management of assets and deliverables for studio and independent customers. “We have built proprietary, custom technologies to serve our clients and their projects in the most advanced and effective way,” noted Andy Scade, senior vice president and general manager of Pixelogic’s Worldwide Digital Cinema Services, “and that is what our expanded digital cinema capabilities are designed to do from the ground up – bring technological excellence, innovation and efficiency to the process.”

The screening theaters will support a variety of immersive audio formats and will also be equipped with the latest laser projector technology supporting 4k and HDR capabilities. Specific technology partnerships will be announced soon.

Pixelogic’s digital cinema mastering capabilities and KDM (Key Delivery Message) fulfillment services are built on the company’s proprietary operating platform which was developed internally to accelerate the process from script to screen – solving for speed, quality and security.

“Our operating platform is a powerful and integrated content ecosystem incorporating the entire supply chain process: localization and end-to-end mastering for digital cinema, online delivery platforms and physical media,” added Scade. “End-to-end is the key theme throughout our platform, which includes vital capabilities such as the management of assets, schedules, workflows, deliveries, verifications and content review/approval.”

24 2018 Apr

Oscar Nominee, BAFTA Winner Paul Machliss, ACE to Keynote HPA Creative Tech UK

HPA Creative Tech UK, the not-to-be-missed event in London on 27 June, will feature a keynote conversation with Paul Machliss, ACE. Machliss’ work on 2017’s critically acclaimed Baby Driver earned him a BAFTA Award, a Critics’ Choice Award, and an Academy Award nomination. Other accolades include nominations from the ACE Eddie Awards, Satellite Awards, Gold Derby Awards and more for Scott Pilgrim vs. the World and The Hour.  During the keynote session, Machliss will focus on his approach to editing as well as his use of previsualization and other technical advances which help further storytelling.

Richard Welsh, chair of HPA Creative Tech UK, said, “Paul’s work on critically acclaimed Baby Driver was stunning, and the movie has become an instant classic. We are delighted to have him join us at HPA Creative Tech UK. We look forward to learning about his approach to those riveting scenes as well as his perspective on the tools and technologies that are changing the cutting room.  His technical acumen, combined with his immense creative talent, make him an engaging speaker for our audience.”

Born in Melbourne, Australia Machliss began his career in production, segueing to the editing room where he worked on numerous TV series such as the iconic IT Crowd, Fleabag, Fungus the Bogeyman, Black Books, Edgar Wright’s television series Spaced, and Peep Show, among many others. Machliss has numerous credits in comedy and music, including projects with Led Zeppelin, Kate Bush, New Order, and Diana Krall, to name but a few. In addition to Baby Driver, his feature credits include Man Up, Scott Pilgrim vs. the World, and The World’s End.  Machliss is currently at work on Joe Cornish’s The Kid Who Would be King, scheduled for release in March 2019.

Here is a 6 minute clip of Paul’s amazing work on Baby Driver.

HPA Creative Tech UK takes place at the gorgeous Ham Yard Hotel in Soho, London. Registration is now open at www.hpaonline.com.

 

24 2018 Apr

A Deep Dive into AI at HPA Creative Tech UK 2018

By Debra Kaufman

HPA Creative Tech UK convenes in London on June 27 with a program focused on navigating the frontier of media and technology. Finishing the day’s engaging sessions will be a panel on artificial intelligence, with Arvato project manager Yvonne Thomas and FeedForward AI co-founder/director of business strategy Lydia Gregory. Prior to co-founding FeedForward AI, Gregory was head of growth for an AI music startup and Thomas, an engineer, worked at the EBU where she was involved in 3DTV, UHDTV and other standardizations. We sat down with Thomas and Gregory to get a preview of their perspectives on AI.

Thomas notes thatAI is not a new topic. “But it’s the moment when AI services become more mature and reliable,” she says. “Together with open APIs and advanced software, it’s actually easy to integrate and use those AI services.” Gregory adds that AI is getting proficient at such tasks as object recognition. Because AI solutions are mostly hosted in the cloud, they allow for easy scability and accessibility, she says. But, because AI is new, organizations using AI solutions need specialists, who are hard to find and expensive, to operate their systems. “Since the AI results are not yet 100 percent accurate, training the system is an on-going job,” Gregory adds. “AI must be considered a part of the system landscape. If the system can’t handle or visualize AI data, AI services are of very low value.”

Thomas points out that the media and entertainment industry can benefit from several AI use cases, including using video-centric analytics to enrich metadata to find content more precisely and faster, which helps to monetize it. “Second, AI can be used for predictions, meaning that a server can be repaired before it even breaks down, because AI can predict a failure down time,” she says. “This not only reduces costs but also increases the reliability of a system, especially in a 24/7 operation. Third, AI can increase the level of security by identifying a hack attack early and preventing its continuation.”

An example of the first use case is Arvato’s MAM system, says Thomas, who is its product manager. “Metadata enrichment is essential for a MAM, so that its users can work even more efficiently,” she points out. “The data-based services we currently use focus on video analytics, including face recognition, speech-to-text, lipsync extraction, scene detection and so on.”

Likewise, FeedForward AI has just released Figaro.ai, a solution for intuitive audio search. “To find the right track for a video soundtrack, advert or personal listening, we usually have to search through a large database of tracks, and, to do this, we have to use words,” says Gregory. “There is therefore a semantic gap between the words we use to describe the track and the audio itself. We enable a user to find the right track by using deep learning to create a link between the raw audio and its metadata.” Gregory adds that FeedForward AI is working with audio platforms to implement Figaro into their search capabilities. The company also has plans to extend the service to audio with speech, images and video.

Many people in the media and entertainment industry want to get up to speed on artificial intelligence, and both Gregory and Thomas have suggestions on how they might do so. “AI is part of almost every conference and the big service providers offer interesting blog posts of their progress,” suggests Thomas, who also recommends that those who are curious ought to “experiment with AI and be amazed.” Gregory suggests, for those who want to delve into the technology, to check out Andrew Ng’s Coursera course on machine learning or follow AI market research on TechEmergence.

What does the future hold for AI in our industry? “Overall, I am optimistic,” says Gregory. “New technology has always caused disruption but so far, AI is being used in the media & entertainment industries to augment the creative process. In a world where more content is required more quickly, the ability of machine learning to power solutions that decrease time to market is important.” She points out that, “many of the current machine-learning-driven solutions focus on the content finishing part of the lifecycle,” such as localization, compliance, improving discovering as well as restoration.

Ethics should always be a part of the conversation when talking about AI, says Thomas. “Overall, people fear AI although they seem to find it fascinating,” she says. Those who look closer recognize its benefits. Even though this means that many jobs will be automated, it doesn’t mean an overall job loss. The machines need to be trained and maintained, therefore only the job tasks will change.” She also cautioned that, because AI results aren’t completely accurate, users must take this into account when examining the resulting data. As to whether machines will take over the industry, she notes that, “the limits are being set by humans.” “If we like them to become more intelligent and self-learning then this is our decision,” she says.

20 2018 Apr

Fortium Showcased Latest Post Production and GDPR Security Solutions at NAB 2018

Demonstrations included new encryption-on-the-fly and smart folder authentication features for video and personal data encryption-at-rest solutions.

fortium_logo_640x480_1Los Angeles—Fortium, leading provider of digital content protection solutions for film, television and broadcast, demonstrated the latest features of its MediaSeal encryption ‘at-rest’ and ‘in-use’ solution at NAB 2018.  Demonstrations showed how MediaSeal protects sensitive media files from cybercrime and accidental distribution without impacting post-production and localization workflows. New features include Smart Folders, for encryption-on-the-fly, and Smart Card. for advanced authentication. Fortium also demonstrated the latest version of Patronus, its DVD Screener anti-rip product.

With cybercrime on the rise, media and entertainment companies need to ensure their content has the best possible protection. “Leaks are becoming more common and the cost borne by victims, in terms of monetary loss and damaged reputations, is becoming every greater,” said Fortium CEO Mathew Gilliat-Smith. “MediaSeal is an easy-to-use and effective tool for securing files during film and television post-production, sound and picture editing, localization and marketing production. It protects files from theft and accidental loss at rest, in motion and in use.”

In other NAB news….

  • Fortium CEO Mathew Gilliat-Smith participated in a panel discussion on security as part of Avid Connect 2018 at Wynn Las Vegas. Titled Security in the World of Media: Content Is King, Keep It Safe!, it is scheduled for Saturday, April 9, at 2:00 p.m. Gilliat-Smith will be joined by Microsoft Azure’s Joel Sloss and moderator Brad Dick of The Broadcast Bridge.
  • Mathew Gilliat-Smith appeared in a live-streamed interview on Digital Production Buzz.
  • Fortium will took part in an NAB Show Live panel discussion on Security in the Cloud.
  • Fortium will gave an NAB Destination NXT Spotlight Talk on cybersecurity.
  • Fortium led an NAB CM|IP Presentation entitled Your Risk, Your Reputation – Security Is Our Biggest Challenge at the CM|IP Presentation Theater, SU13205CM.

 

20 2018 Apr

MTI Film Launched CORTEX v5 at NAB

Set to screen workflow solution includes new features for IMF and Dolby Vision packaging, QC and more.

MTIAt NAB Show 2018, MTI Film introduced CORTEX v5, the latest version of its set-to-screen family of workflow solutions.  In addition to the powerful Dailies processing tools, the improved software includes significant, new features for IMF, DCP, and Dolby Vision packaging.  The new graphs and metrics reports provide QC tools for Dead Pixel Detection and Correction, MaxCLL/MaxFLL levels, Code values, IRE and NITS values.  CORTEX v5 includes many other new features to manage media throughout the production lifecycle and meet complex delivery requirements.

Offering support for all popular delivery formats, CORTEX has become the first choice for IMF creation, quality control and delivery due to its flexibility, robust features and ease of use. “Facilities have embraced CORTEX as a complete IMF solution,” said MTI Film Director of Product Development Randy Reck. “The new v5 adds more features and is even easier to use. Users can get their projects done faster and with greater confidence.”

Highlights of v5 include new Edit Tool functions to support Dolby Vision. Users can more easily manage complex metadata by overwriting, inserting, deleting or copying and pasting Dolby Vision metadata directly into compositions. Similarly, a new IMF Tree function makes it simpler to organize mastering projects by allowing users to present compositions and supplementals alongside renders. Sub-folders have also been added for improved media management.

To support quality control workflows, CORTEX’s Quality Analysis node now allows for the creation of graphs and reports for analyzing media for a variety of metrics, including color levels, bit rate, MaxCLL/MaxFLL, and dead pixels.

Other new and enhanced features include:

  • Software CMU for Dolby Vision
  • Simultaneous HDR and SDR SDI outputs
  • ProRes IMF packaging
  • ProRes insert editing
  • Improved dead pixel repair
  • Improved MTI-Samsung up-res
  • 24-channel audio
  • DCP packaging
  • Waveform and Vectorscope scaling for HDR and SDR
  • Streamlined edit functions

CORTEX is available in DIT, DIT+, Dailies and Enterprise editions tailored to differing users and applications. MTI Film is an ACES Product Partner.

20 2018 Apr

MTI Film Introduced DRS™NOVA v4 at NAB

Latest version of digital restoration software includes tools for frame replacement, stabilization, paint and more.

MTIMTI Film introduced the latest version of its industry-standard digital restoration software DRS™NOVA at NAB 2018. Employed by restoration specialists and post-production facilities worldwide, DRS™NOVA includes a suite of automated and manual tools for addressing problems common to new and archival film content, ranging from dust and dirt to catastrophic tears and warps.

DRS™NOVA v4 offers many new features including Auto Stabilization, Zonal Deflicker, Paint Restore, Split Screen and Side by Side viewing, improved Mask functionality, version export, and more.

New tools include:

  • DRS™ Replace: Create up to three frames from adjoining frames.
  • DRS™ Color: Change the color of fixes created in DRS™ Tool.
  • Auto Stabilization: Stabilize a range of images with a single click.
  • Improved Performance: Faster playback of DPX, TIFF and EXR files.
  • Paint Restore: Paint from one clip to another to restore original values.
  • Zonal De-flicker: Eliminate zonal flicker via a simple interface.
  • Split Screen/Side by Side View: Compare clips in split screen or side by side view.
  • Version Export: Export modified files with original frames to preserve source material.
  • Improved Mask: New visual feedback for border width.

Standard features of DRS™NOVA include MTI Film’s proprietary digital film restoration algorithm, powerful project management and tools for automatically fixing printer mis-lights, dust and debris, stabilization problems, grain and noise, blurring, and color mis-registration.

“MTI Film has been the leader is restoration software for 20 years,” said MTI Film Senior Vice President/Business Development Jim Hannafin. “Our engineering team is continually working to improve DRS™NOVA based on the experiences and suggestions of users in the field. Version 4 represents another step forward in terms of ease of use, utility and excellence. We look forward to sharing it with new and returning customers are NAB.”

20 2018 Apr

Quincy Media Deploys Avid’s Story-centric TV News Workflow Across 14 U.S. Markets

Broadcaster accelerates news production with remote collaboration based on Avid MediaCentral

Avid, a leading global media technology provider for the creation, distribution and monetization of media assets for global media organizations, enterprise users and individual creative professionals, today announced that Quincy Media has adopted Avid’s end-to-end story-centric workflow. Powered by MediaCentral®, the new workflow facilitates remote collaboration for journalists and news teams across multiple Quincy television stations, enabling them creating content in the field, share material and break stories faster in broadcast and across digital platforms.

Family-owned Quincy Media, headquartered in Quincy, Illinois, operates television stations and digital platforms in 14 U.S. markets. To accelerate content collaboration among its properties, Quincy Media upgraded its news production infrastructure, turning to Avid to optimize news workflow for enterprise-wide collaboration, choosing tools and workflow solutions to create, distribute and optimize news content.

“With our Avid story-centric workflow, our journalists are more productive by contributing finished assets and stories while they’re out in the field,” said Brady Dreasler, Corporate Director of Engineering, Quincy Media. “Our MediaCentral implementation makes Quincy as functional in the field as we are in the newsroom, having liberated our teams and amplified their collaboration so that we’re delivering more powerful stories in less time.”

Quincy is unlocking new levels of real-time collaboration with MediaCentral-based story-centric workflows incorporating newsroom management, production, and multiplatform content creation available to all team members from an easy to use web-based experience. All Quincy stations are connected via a centralized server giving journalists, editors and producers universal access to all available content on a single newsroom management system to build their stories.

Six of Quincy’s stations also pool content on an on-going basis to produce a shared weekly newscast called Wake up Wisconsin. One station produces the newscast and redistributes the content to the other six stations located across Wisconsin. “If it wasn’t for the connectivity and common standardized workflows we get with MediaCentral it would be close to impossible to produce this show,” says Dreasler.

Quincy Media equipped each of its journalists with a laptop, camera, and access to MediaCentral—which provides a common user interface and gives everyone across the station group access to the same creation and management tools. Each laptop includes Avid Media Composer® | Cloud Remote, to enable remote video production. With the openness of MediaCentral, the field teams quickly upload their videos back to their station with the integrated IBM Aspera FASP high-speed file transfer software.

Quincy Media’s workflow also comprises Avid NEXIS®, MediaCentral | Panel for Adobe Premiere Pro CC, Avid AirSpeed®, and MediaCentral | Command.  With Avid NEXIS, the media industry’s first software-defined storage platform, Quincy Media expanded its storage capacity for HD files and enabled multiple stations to easily access content stored on the system, quickly transfer media, and broadcast programs from multiple control rooms using Avid AirSpeed servers for playout.

“With the power of its platform-based approach, Quincy Media has sharpened its competitive edge across its markets by dramatically accelerating its ability to gather content and produce stories with an optimally collaborative news organization,” said Tom Cordiner, Senior Vice President of Worldwide Sales at Avid. “Avid’s platform has helped unify Quincy’s multiple news operations to deliver stronger stories faster while establishing a new means to control operating costs.”

20 2018 Apr

Award-Winning Visual Effects Studios Milk VFX and Electric Theatre Collective Join Sohonet’s Virtual Workstation Panel at FMX Conference 2018

sohonetSohonet, the global experts in connected cloud services for the media and entertainment industry, announced that leading industry figures from Electric Theatre Collective (ETC), Milk Visual Effects, Amazon Web Services, Pixit Media and Teradici will be joining Sohonet’s Virtual Workstations panel during FMX, Europe’s premier conference for the digital visual arts.

The panel, which will be held April 25 from 16:00–17:00 CEST, will focus on how and why VFX companies such as Milk and ETC are looking to host their workstations in the cloud, with a focus on block and file-based storage they require. Details will be shared on how it can be achieved securely and cost effectively, whilst providing a seamless and enhanced experience for the visual effects artist.

Both Milk and ETC were quick to identify how access to “unlimited compute power” could drive the creative process to reach new heights, and both companies utilize Sohonet FastLane to securely leverage public cloud platforms, enabling them to deliver award-winning work, on schedule and in budget.

Ben Roder, CTO of Sohonet said, “We’re extremely excited to welcome both ETC and Milk to our panel at FMX. We see that the industry is now truly embracing the power of cloud computing with speed and enthusiasm, considering how radical it seemed not so long ago. At FMX 2016 and 2017 our focus was largely on rendering in the cloud. Hosted VFX workstations in the cloud is a logical next step.”

Sohonet will also be joined by leading storage-solutions provider Pixit Media, who will offer invaluable insight into how VFX companies can scale operations, multiply workloads, reduce latency in cloud use cases, and improve performance issues. Teradici will also be on hand to explain how their end-to-end cloud-ready solution is enabling companies to access a high-powered VFX workstation from anywhere and what this means for their businesses.

Head of Systems at Milk Visual Effects Dave Goodbourn said, “Having the ability to expand our resources at the drop of a hat is essential. Working with Sohonet and Pixit to build a pipeline not just for our render needs but workstations too has helped us in working on projects that would previously have been beyond the scope of a facility of our size.”

Chris Bond, founder of Thinkbox, an Amazon Company, agrees, “The Sohonet Media Network and their FastLane service, paired with Amazon EC2 Spot Instances, helps deliver more value for our customers. We want to help creative teams around the world create compelling content by providing them with the power of Amazon Web Services and Thinkbox Deadline. The addition of technology from Pixit and Teradici creates a compelling combination of performance and value.”

ETC’s Head of Engineering Samuel Reid said, “We’re delighted to be joining Sohonet at FMX this year. Our joint work with them, AWS, Pixit and Teradici have allowed us to utilize the cloud and cloud-based tools to meet tight deadlines, access global talent and match our OPEX with our clients’ proposals. We are looking forward to sharing the results with the FMX audience in Stuttgart.”

For more details on the panel and FMX 2018, click here.