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19 2017 Apr

SMPTE Announces Program Details for Fifth Annual Entertainment Technology in the Connected Age (ETCA) Conference

With Theme of ‘Redefining the Entertainment Experience,’ Annual Event Will Take Place May 8-9 at Microsoft’s Silicon Valley Campus.

The Society of Motion Picture and Television Engineers® (SMPTE®), the organization whose standards work has supported a century of technological advances in entertainment technology, today announced program details for the Entertainment Technology in the Connected Age (ETCA) conference, May 8-9 at the Microsoft Silicon Valley Campus in Mountain View, California. Entitled “Redefining the Entertainment Experience,” this year’s conference will explore emerging technologies’ impact on current and future delivery of compelling connected entertainment experiences.

“Now in its fifth year, SMPTE is pleased to be hosting this year’s ETCA on the Microsoft campus in the heart of Silicon Valley, where engineers, executives, creatives, and researchers will gain a unique perspective on the technologies that are arguably redefining entertainment as we know it, while engaging with the leaders who are making it happen,” said Patrick Griffis, SMPTE executive vice president, and ETCA program chair. “This year’s program is extremely strong, and we look forward to a thought-provoking two days.”

Bob DeHaven, general manager of Worldwide Communications & Media at Microsoft Azure, will present the first conference keynote, titled “At the Edge: The Future of Entertainment Carriage.” The growth of on-demand programming and mobile applications, the proliferation of the cloud, and the advent of the internet-of-things demands that video content is available closer to the end user to improve both availability and the quality of experience. DeHaven will discuss the multifarious relationships taking shape to embrace these new requirements and will explore the roles network providers, content delivery networks (CDNs), network optimization technologies, and cloud platforms will play in achieving the industry’s evolving needs.

Hanno Basse, chief technical officer at Twentieth Century Fox Film Corporation, will present “Next-Generation Entertainment: A View From the Fox.” 20th Century Fox distributes content via outlets ranging from cinema to Blu-ray Disc, over-the-top (OTT), and even virtual reality (VR). Basse will share his views on the technical challenges of enabling next-generation entertainment in a connected age and how Fox plans to address them.

The first conference session, “Rethinking Content Creation and Monetization in a Connected Age,” will leap right into a discussion of multiplatform production and monetization using the latest creation, analytics, and search technologies. The session “Is There a JND in It for Me?” will take a second angle, exploring what new content creation, delivery, and display technology innovations will mean for the viewer. Panelists will discuss the parameters required to achieve original artistic intent while maintaining a just noticeable difference (JND) quality level for the consumer viewing experience.

“Video Compression: What’s Beyond HEVC?” likewise will explore emerging techniques and innovations, outlining evolving video coding techniques and their ability to handle new types of source material including high-dynamic-range (HDR) and wide color gamut (WCG) content, as well as video for virtual and augmented reality (VR/AR).

Moving from content creation and compression into delivery, “Linear Playout: From Cable to the Cloud” will discuss the current distribution landscape, looking at the consumer apps, smart TV apps, and content aggregators/curators that are enabling cord-cutters to watch linear television, as well as the new business models and opportunities shaping services and the consumer experience. The session will explore tools for digital ad insertion, audience measurement, and monetization while considering the future of cloud workflows.

“Would the Internet Crash If Everyone Watched the Super Bowl Online?” will shift the discussion to live streaming, examining the technologies that enable today’s services as well as how technologies such as transparent caching, multicast streaming, peer-assisted delivery, and User Datagram Protocol (UDP) streaming might enable live streaming at a traditional broadcast scale and beyond. “Adaptive Streaming Technology: Entertainment Plumbing for the Web” will focus specifically on innovative technologies and standards that will enable the industry to overcome inconsistencies of the bitrate quality of the internet.

“IP and Thee: What’s New in 2017?” will delve into the upgrade to internet protocol (IP) infrastructure and the impact of next-generation systems such as the ATSC 3.0 digital television broadcast system, the Digital Video Broadcast (DVB) suite of internationally accepted open standards for digital television, and fifth-generation mobile networks (5G wireless) on internet-delivered entertainment services. Moving into the cloud, “Weather Forecast: Clouds and Partly Scattered Fog in Your Future” examines how local networking topologies, dubbed “the fog,” are complementing the cloud by enabling content delivery and streaming via less traditional — and often wireless — communication channels such as 5G.

The rise of interactivity, as both a control mechanism and as a means of enhancing the viewing experience, will also be a theme of ETCA. “Giving Voice to Video Discovery” will highlight the ways in which voice is being added to pay television and OTT platforms to simplify searches. Panelists will discuss the benefits and challenges of implementing voice effectively, and the impact this trend will have on viewing behavior. In a session that explores new consumption models, “VR From Fiction to Fact” will examine current experimentation with VR technology, emerging use cases across mobile devices and high-end headsets, and strategies for addressing the technical demands of this immersive format.

Complete conference details, including registration information, are available at

Further information about SMPTE is available at .


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18 2017 Apr

Is What You See What You Get?

We rely on monitors to tell us what we need to know about our content when we shoot it, post it, distribute and view it. But how do you really know what you’re looking at? A large crowd, hosted by the Hollywood chapter of SMPTE, gathered at AMPAS last week in pursuit of an answer to that question.

Presenters and panelists Bill Baggelaar (SVP Technology Sony Pictures), Chris Clark (Imaging Science Netflix), Josh Pines (Imaging Science Technicolor), Joseph Slomka (Imaging Science Fotokem), Steve Mahrer (Sr. Technologist, Panasonic), Howard Lukk (SMPTE) and Zoachim Zell (VP Technology EFilm/Deluxe) addressed industry standards, process and practices with a wealth of experience, facts and humor.

The variety of monitors on display included Sony, TV Logic, Panasonic and Canon.

18 2017 Apr

MTI to Launch Update to CORTEX Line

CORTEX v4 will be showcased throughout NAB 2017 at MTI’s booth, SL14808.

At NAB 2017, MTI Film will launch the latest updates to its family of CORTEX applications designed to take media from Set to Screen.

Unveiled in four editions, CORTEX v4 is MTI Film’s most comprehensive toolset to date.  In addition to the tools and features that have come standard in CORTEX for years like a comprehensive dailies toolset, IMF & AS-02 packaging and world class upres algorithms, v4 adds DCP packaging as well as integration of ACES color support, a brand new Extended Edit tool and officially certified Dolby Vision metadata editing capabilities.

“We allow users to manipulate Dolby Vision HDR metadata in the same way that they edit segments of video,” says Randy Reck, MTI Film’s Director of Development. “In the edit tool, they can graphically trim, cut and paste, add metadata to video, analyze new segments that need metadata, and adjust parameters within the Dolby Vision metadata on a shot-by-shot basis.”

With the integration of the Dolby Vision ecosystem, CORTEX v4 provides a method for simultaneously QC-ing HDR and SDR versions of a shot with Dolby Vision metadata .  For delivery, the inclusion of the Dolby Vision IMF-ish output format allows for the rendering and delivery of edited Dolby Vision metadata alongside HDR media in one convenient package.

CORTEX v4’s Edit Tool has been updated to include industry standard trimming and repositioning of edited segments within the timeline through its new user-friendly drag-and-drop function.

“We’ve always had a very powerful environment within Cortex to do simple editing, which is necessary for generating things like an IMF or DCP,” says Reck. “Now we’ve added a more standard drag-and-drop interface that allows  users familiar with non-linear editors to be immediately productive on Cortex using the Edit tool. There is no learning curve.”

The entire look of the Edit Tool (available in the Dailies and Enterprise editions of CORTEX) has also been updated to accommodate a new Dual Monitor layout, making it easier to scrub through media in the source monitor while keeping the composition in context in the record monitor.

Also being released at NAB 2017 is the new subscription based DIT+ edition of CORTEX.

“It doesn’t make sense for productions to purchase a full software package if their schedule includes a hiatus when it won’t be used,” explains Reck. “We’re addressing that issue by offering a fully functioning dailies package on a subscription basis for users who need it for a short period of time.”

DIT+ contains all the aspects of the free DIT version of CORTEX with the added ability to render HD ProRes, DNx and H.264 files for delivery.

“Cortex was originally designed to facilitate dailies workflows,” says Reck. “DIT+ contains all the functionality needed to go from set to editorial at a very low subscription price.”

DIT+ is expected to be available April 22nd exclusively at with two subscription options.  A monthly subscription of $95/month or an annual subscription of $795/year with an NAB special of $595/first year for an annual subscription if subscribed before May 31st, 2017.

MTI Film will be demonstrating CORTEX v4 in booth SL14808 at NAB 2017.

18 2017 Apr

Chris Parry Joins Testronic as Head of Business Development Film & Television for Europe

Chris Parry has been named Testronic’s head of Business Development for Film and Television in Europe. Testronic, the leader in quality assurance (QA), localization services and compliance for the film, television and games industries, has seen a growing demand for film and television services in Europe; Parry will be working with UK and Europe entertainment distribution platforms, content holders, post services and C&A facilities, libraries, and studios.

“We are excited to have Chris join our growing team,” said Jason Gish, senior VP Film & Television and general manager for Testronic. “Chris’ expertise will be invaluable to our customers as they navigate managing a wide array of content, often with a multitude of deliverables. Although DVD and Blu-ray still have a huge market in Europe, digital platforms are continuing to grow and increase their popularity across a global audience – from UHD/4K, to virtual reality and the explosion in streaming content. The need for robust QA services is more critical than ever, and we are ready to meet those needs.”

Parry brings nearly 20 years of experience in the entertainment industry to Testronic. Over the course of his career, he has provided service to the entire media supply chain, including studios, distributors, production companies, OTT platforms and broadcasters, delivering award-winning, cutting edge video solutions to the world’s leading film and television companies. Prior to joining Testronic, Parry served as sales manager at Stream AMG, 24-7 DVD, re:fine/Visual Data, and Cinram.

Parry will report to Gish, and is based in the London headquarters of Testronic.

18 2017 Apr

International Cinematographers Guild to Co-Present Two Panels at NAB Show

The panels, which are co-presented by the International Cinematographers Guild (IATSE, ICG Local 600), at the NAB Show, will examine advanced and future imaging techniques, including the use of machine intelligence in pre and post production. One of the panel discussions, Game of Thrones, will be set within the context of high profile, consumer content. Both sessions will take place at the Las Vegas Convention Center.

Monday, April 24, 2:30 PM
Game of Thrones: Behind the Scenes with the Filmmakers

South Hall Upper Room S220

With its spectacular battles, dragons, reverberating hugs, and death winnowing storylines, season 6 of Game of Thrones ratcheted up the tension and raised anticipation for an eventual, epic series conclusion. The season was shot simultaneously by director/cinematographer pairs rotating between stage and location (as is the custom), spotlighted a cast of hundreds and featured nearly 1900 visual effects shots. Learn how the filmmakers applied the Game of Thrones naturalistic lighting style to new locations and storylines, how they chose to block and edit the emotional turning points, and how they harnessed postproduction to visually unify the footage. Learn how they blended practical photography with CG to create rule breaking yet believable scenes and how postproduction mastered for distribution worldwide. See some great footage and understand why, in 2016, Game of Thrones drew an amazing 25.1 million viewers across all major platforms.

Bernadette Caulfield, Executive Producer
Greg Spence, Producer
Anette Haellmigk, Director of Photography (Emmy Nominee: Game of Thrones)
Jonathan Freeman, Director of Photography (Emmy Winner: Boardwalk Empire, Emmy Nominee: Game of Thrones)
Moderator: David Geffner, Executive Editor of ICG Magazine

Tuesday, April 25 10:30 – 11:30 a.m.
Next Generation Image Making – Taking Content Creation to New Places

North Hall. Room 251

Machine intelligence, light field, volumetric capture, computational photography, real-time rendering and generative imaging have the potential to transform image making for all forms of content. Already, they are contributing to the blurring lines between live action and computer-generated imaging, and between what takes place in preproduction, production and post. What is the science behind these new technologies and how do they work? What are their current limitations and promise? Who is using them now, and for what kinds of projects? How might they alter not only how we create images for scripts, but also the foundation of image authorship? Glimpse what NAB’s Central and South Hall could look like in five to ten years…

Andrew Shulkind, Director of Photography (Clients include: Paramount, DreamWorks, Sony Pictures, Apple, Adidas, AT&T, Budweiser, Google, Old Spice and Samsung.)
Jon Karafin, CEO Light Field Lab. Inc.
Gavin Miller, Head of Adobe Research.
Steve Sullivan, General Manager, Holographic Imaging Microsoft
Moderator: Michael Chambliss, Technologist and Business Representative for the ICG, IATSE Local 600

18 2017 Apr

Visual Effects Society Launches New Publication – VFX Voice

Definitive Global VFX Platform Heralds Society’s 20th Anniversary

This month, the Visual Effects Society (VES), the visual effects industry’s professional global honorary society, premiered the inaugural issue of VFX Voice, the organization’s new signature print and digital magazine.   VFX Voice is a quarterly printed publication, and the web version is now live at  In addition to housing the digital edition, the site will be a robust platform of news and features between issues.  The editorial focus of the magazine will have a wide global landscape: feature films, TV, commercials, music videos, animation, theme parks, virtual reality, gaming, new media and industry trends, and will celebrate the VES, its diverse membership and sections around the world.  In addition to industry circulation, VES members will receive the publication as a benefit of membership.

“After shining a light on the artistry and innovation in the VFX community for 20 years, we are proud to launch our premiere magazine,” said Mike Chambers, VES Board Chair.  “Extending our work to advance the profile and recognition of our industry, VFX Voice will focus on the art, the craft and the people of the global visual effects community and the Visual Effects Society.  Developing a magazine has been a longstanding goal of the organization, and bringing this to fruition is a truly exciting way to embark on our next 20 years.”

As previously announced, VFX Voice has an esteemed creative leadership team at the helm.  This includes Publisher Jim McCullaugh, who previously served as the Publisher of the award-winning American Cinematographer magazine for seven years; and Editor Ed Ochs, who comes to VFX Voice with decades of editorial experience, notably as Editorial Director for Billboard Magazine.

VFX Voice also brings a venerated Advisory Board to the production, lending insight and expertise to its editorial focus.  Members of the inaugural VFX Voice Advisory Board include:

  • Rob Bredow, Chief Technology Officer, Lucasfilm, Ltd.
  • Mike Chambers, Visual Effects Producer and VES Board Chair
  • Neil Corbould, Managing Director of Neil Corbould Special Effects Ltd.
  • Debbie Denise, Executive Producer
  • Paul Franklin, Creative Director, Co-founder Double Negative
  • David Johnson, Lead Visual Effects Artist at Activision/Blizzard’s Infinity Ward Studio
  • Jim Morris, VES, General Manager and President of Pixar Animation Studios
  • Dennis Muren, A.S.C., VES, Senior Visual Effects Supervisor and Creative Director of Industrial Light & Magic
  • Sam Nicholson A.S.C., Founder / CEO  Stargate Studios
  • Eric Roth, VES Executive Director

Advertising opportunities are available for the print edition and website.   Please visit for further information or to request a rate kit or contact


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18 2017 Apr

NAB 2017: Editors Talk NLEs and More

By Debra Kaufman

The 14th annual Editor’s Lounge recently brought together post production experts to talk about the upcoming NAB 2017.  AlphaDogs Editorial founder/president Terence Curren (also an editor), USC School of Cinematic Arts professor and editor Norman Hollyn, Keycode Media director of technology Michael Kammes, and Bunim-Murray senior vice president of post production Mark Raudonis talked about what they expected and hoped to see at the Las Vegas show.

The panelists focused on issues relevant to editors, focusing on nonlinear editing systems. In a quick poll of attendees, nearly all of whom were editors, they were split half-and-half between Avid Media Composer and Adobe Premiere Pro; outliers included three users each of FCP X and Black Magic Resolve as an editing system. “Nonlinear editing systems have become specialized by market,” says Raudonis, who had posed the question whether one NLE would be dominant at NAB 2017. “There’s no ‘best’ but rather what’s best for you.”

Hollyn brought up developments, mainly wrought by the cloud, that have permitted NLEs to develop true remote collaboration, something he believes he’ll see more of at NAB 2017. “The last four projects I worked on, only one was with a director and producer in Los Angeles,” he recounts. “Some were in different parts of the U.S. and some in Europe. I think that’s amazingly exciting. New technology is allowing us to collaborate with people I’d otherwise never have the chance to work with.” He believes that remote collaboration will also be a boon to his students, who as editors will have the chance to work on a variety of projects in different geographic locations.

Terence Curren

Terence Curren

Currently, he added, remote collaboration is “cobbled together, a combination of iPad, Facetime, and syncing in the cloud to keep media and project files up to date.” Remote collaboration has been attempted many times in the past twenty years but, now, says Hollyn, “it’s not too hard anymore to do it and we’re figuring out the best ways to do it.” But remote collaboration isn’t for every project, notes Raudonis, who points out that Bunim-Murray’s reality TV projects can have 24 editors. “We have a team approach,” he says. “We’ve experimented with distance collaboration but it hasn’t been successful.”

Curren notes that, “the minute the editor doesn’t have to be in the room, it’s a matter of where the producer can get the cheapest editor.” But Hollyn responded that it can also “work the other way, and bring jobs to editors here.” Meanwhile, everyone agreed that BlackMagic’s Resolve has very quickly belong a Swiss army knife for editors, allowing files to be exporting from Premiere to Avid and vice versa. Raudonis adds that, “it also gets people who have never thought about color to think about it.”

Addressing 4K, Raudonis states that it is “the new HD.” “It’s here,” he says, noting that all TVs are now 4K. “We’ll discover that it’s there as acquisition and distribution, but it’ll be the classic offline/online in editing.” Hollyn says that, besides Netflix, advances in use of 4K will come, not from the studios, but from “scientific, medical, gaming … and then will feed back when consumers realize they get better looking stuff from laptops than TVs.” Raudonis countered that in smaller productions, such as reality TV, there’s less risk, noting that reality TV produced with Betacam when that was “pretty cutting edge.” “We’re not shooting in 4K now,” he says, “But it’s on the horizon. It’s a natural progression. When the prices of 4K camera are the same of HD, you’ll have no financial reason not to – except for storage, but that cost is also coming down.”

Storage and workflow are still issues when it comes to 4K, says Kammes, who notes that, “there are folks limping along on storage where the warranty has been gone for decades.” “It’s a hard conversation to have,” he says. “If it’s worked for ten years, why should they upgrade?” Curren agrees, adding that storage isn’t something you can charge the client for, “so it’s hard to justify upgrading.”

Michael Kammes

Michael Kammes

Everyone was enthused about HDR, with the caveat that there are multiple standards. Hollyn points out that, “we need to talk about the various ways we watch media nowadays.” “At least half if not more of my students don’t own a TV,” he says.  “They’re not looking at content on a TV, so if you can watch HDR on our phones, this may not even be an issue.” In response to a quick poll, about one-third of the Editor’s Lounge attendees said they no longer watch content on TV sets. How will the HDR multi-standard situation resolve? Going forward, say the post experts, there will be winners and losers; a couple of panelists are betting on Dolby, which already licenses audio and has brand recognition.

Both 4K and HDR will be part of the broadcasters’ evolution to ATSC 3.0, which will be on full display at NAB 2017. No one in the audience was familiar with it, but the panelists counseled them to get educated. “Your clients will be asking for 4K HDR,” says Raudonis. “There’ll be a lot more versions, and it’ll add a level of complexity to what you do. So you have to be aware that the world is changing sooner than you think.”

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18 2017 Apr

Therapy Studios Helps to Craft the Comedy for “The Gorburger Show”

Los Angeles-based post production company Therapy Studios helps to craft the idiosyncratic brand of comedy behind The Gorburger Show on Comedy Central.  Previously produced as a Funny or Die/Warner Music web series, The Gorburger Show features a giant blue space monster (voiced by Silicon Valley’s TJ Miller) who serves as the unlikely host of a Japanese variety show.

All 8 episodes of Gorburger were produced by Caviar and directed by its creators, Ryan McNeely and Josh Martin (aka The Director Brothers). The pair also serves as executive producers, alongside T.J. Miller and Sean Boyle of Funny or Die, and write for the show with Miller and four others.

Gorburger continues a longstanding partnership between The Director Brothers and Therapy Studios. McNeely is a partner of design and vfx company Visual Creatures, which began to operate out of the same space as Therapy in 2010. The companies frequently tackle projects together, with Therapy bringing the editorial, audio and VFX muscle while Visual Creatures focuses on design and animation. Prior collaborations include campaigns for Gamefly, Cap’n Crunch, KIA, and Red Bull, and the HBO show Sonic Highways, which was produced by Therapy Content.

As McNeely and Martin’s live action careers began to take off as The Director Brothers, they continued to foster solid relationships with Therapy’s artists, with both companies growing together in their work over the years. When The Director Brothers created Gorburger for Funny or Die, editor Kristin McCasey cut the first episodes, helping to set the tone for the show. Naturally McCasey was enlisted to cut the TV pilot and by the time Comedy Central picked up the show, it was evident this creative alliance would continue.

With the workflow and trust already in place, The Director Brothers gave McCasey and the other editors a considerable amount of creative freedom at the beginning of the process, inviting them to help craft the jokes and explore the funniest outcomes.

“We like to see what they’ll come up with that might have been different from what we were planning or what we initially liked on set,” explains McNeely. “When it comes to comedy, there are so many different ways to make a scene funny, and we don’t ever want to get boxed into what we wrote or anticipated.”

“On Gorburger, this was multiplied times a million because we were working with an animatronic monster that we could make say almost anything through ADR.  That means near endless opportunities to changes jokes and make a scene funnier…which is both a blessing and a curse.”

With creative free rein, Therapy’s editors could manipulate the order of the shot sequences and rewrite jokes by putting different captions onscreen as placeholders, making Gorburger say whatever they wanted.

McNeely says: “Because of the talk show format of the show, we had a lot of improvisation, so there were so many directions each scene could go. We relied on our editors at Therapy to help steer us in the funniest (or sometimes weirdest) direction possible. After the initial cut, we all worked together to craft the comedy of each scene.”

Along with Kristin McCasey, editors Jake Shaver, Sean Ferris, and Luke Lynch each contributed to episodes.  Eddie Kim manned the audio with impeccable sound design and mixing, and colorist Omar Inguanzo provided the vibrant palette for the series. Flame Artist Geoff Stephenson led the finishing duties with help from Therapy Partner Wren Waters and Rachel Moorer – a combination of talents that worked to bring the bizarre Gorburger universe fully to life.

The Gorburger Show premiered on Comedy Central on April 9 at midnight. Episodes will feature guests including Zach Woods and Johnny Pemberton of Silicon Valley, Reggie Watts, Rob Corddry, Larry King, Tig Notaro, Dr. Drew Pinsky, and more.

17 2017 Apr

American Society of Cinematographers Brings its Masterclass and Magazine to the Asia Pacific Region

Masterclasses Held in Beijing; American Cinematographer Magazine Now Available in Chinese

The American Society of Cinematographers (ASC) is expanding its presence in the Asia Pacific region with the launch of an International Masterclass in Beijing and the availability of the organization’s magazine, American Cinematographer, in Chinese.

In collaboration with, the first Chinese edition of American Cinematographer magazine was posted online April 1, featuring translated articles from the March 2017 print issue. The next edition will contain select articles from both the April and May issues of the magazine. 107CINE reports that the Chinese filmmaking community has responded with great enthusiasm; within the first 10 days, nearly 2,500 website visitors signed up to read the publication.

Concurrently with the premiere copy of the Chinese edition of the magazine, the organization is holding its first ASC Masterclasses in Beijing. Running April 10-13 and April 16-19 in partnership with ARRI, the classes are being led by ASC member instructors, including Bill Bennett, Karl-Walter Lindenlaub, Fred Elmes, Theo van de Sande, Steven Fierberg and Sam Nicholson. They will also present two forums with the Beijing Film Academy and the Beijing International Film Festival.

The ASC Masterclasses build on the organization’s mission to educate the next generation of filmmakers. Classes include instruction on a variety of topics such as lighting, shooting for live action, animation and visual effects, and color grading. The next Masterclass will be held in Los Angeles at the historic ASC Clubhouse in May.

ASC President Kees van Oostrum said, “Over the past years, the ASC has increased its global outreach. This mission began in earnest with our first International Cinematographers Summit in 2011 and has continued to grow significantly as evidenced by our increased participation at Camerimage, IMAGO, and the second ASC International Summit, which we hosted in Los Angeles this past June. We have also seen members travel to Dubai, Qatar, Munich, Amsterdam and Toronto in the past six months as representatives of the ASC. I am excited to announce that we are now extending that global outreach to China.”

For more information, visit

To read the Chinese issue of American Cinematographer, visit


Or to learn more, watch the promo video



17 2017 Apr

Media Leaders to Redefine the Future of the Industry at Avid Connect

The Avid Customer Association’s fourth annual gathering will reveal the results of the inaugural ACA Vote. 

Avid® recently announced a jam-packed agenda for Avid Connect 2017, the annual gathering of the Avid Customer Association (ACA). Avid Connect is a unique industry event that brings together hundreds of media industry leaders, technologists and creative professionals from all over the world to explore new ideas, strengthen their knowledge, expand their network and prepare for the year ahead. Avid Connect 2017 will take place April 22-23, 2017 at Wynn Las Vegas prior to The NAB Show.

Avid Chairman and CEO Louis Hernandez, Jr.’s opening keynote will reveal the beginning of an exciting new chapter in Avid’s transformation and unveil the most significant developments to the Avid MediaCentral® Platform—the industry’s most open, tightly integrated and efficient platform designed for media—since its launch three years ago. Attendees will be first to learn about industry-defining cloud innovations that will take MediaCentral and Avid’s comprehensive tools and workflow solutions for creating, distributing and optimizing media to the next level.

Avid will also unveil the results of the inaugural ACA Vote, which has given ACA members the unique and unprecedented opportunity to directly influence the company’s future technology direction, product roadmap and service offerings. Attendees will not only learn the outcome of the collective vote, but also learn how Avid will use the results to aid the company in prioritizing its plans in order to best support the media industry in addressing its most pressing challenges and seizing the most important opportunities.

Avid Connect will feature dozens of thought-provoking and insightful sessions led by the industry’s foremost thought leaders, business trendsetters, technology innovators and award-winning creative artists from Avid’s preeminent client and user community. This year’s growing speakers list includes:

  • Mohammed Abuagla, CIO/CTO of Technology and Operations at Al Jazeera
  • Fabrice Lorenceau, Co-Founder and Head of Production at LiveLike
  • Editor Catherine Haight, ACE (Transparent, Girls, New Girl)
  • Sound editor James Mather (Harry Potter and the Deathly Hallows, Mission: Impossible—Rogue Nation, Me Before You, Wonder Woman)
  • Editor Kabir Akhtar, ACE (Arrested Development, Crazy Ex Girlfriend).

This year’s sessions are organized around three top-level tracks, offering something for everyone—whether they’re a media industry executive, part of a creative team, or an independent creative professional:

  • Transforming the Media Enterprise: Innovation in Business and Technology
  • Empowering Collaboration: The Talent, Tools, and Technology
  • Mastering Your Craft: The Art of Cutting-edge Storytelling

This year’s inspiring keynotes and interactive breakout sessions will cover everything from the latest in cloud technologies and the newest workflow innovations, to groundbreaking immersive viewing experiences and building long-term viewer loyalty.

“We’re coming together for the fourth consecutive annual event, at a time when the industry and Avid stand at the threshold of an exciting new chapter,” said Avid Chairman and CEO Louis Hernandez Jr. “With an outstanding lineup of speakers, we’re looking forward to another sell-out event. The Avid Customer Association is a shining example of what we can accomplish together when the community works collaboratively to define the future of our industry.”

At the Avid Connect partner pavilion, dozens of industry-leading companies that are part of a rich ecosystem made possible by the openness of the Avid MediaCentral platform will showcase their latest products and technology innovations for Avid workflows. The list of Avid Connect and ACA sponsors continues to expand, demonstrating the growing recognition of their importance to the industry by organizations like NAB, the IABM and Sports Video Group, and companies like HP, Dell, AMD, Dolby, Aspera, an IBM company, PACE Anti-Piracy, Quantum, Telestream, Oracle Diva, and HGST, a Western Digital Brand.

With last year’s Avid Connect selling out before the event, attendees are encouraged to register soon to secure their spot. For more information, including a complete agenda and registration details, visit