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15 2017 Mar

See Our Members at NAB!

We’ll be updating this list right up until showtime. Send us your NAB news!


Booth SL 2505

ALT Systems

Booth SL11509

Booth SL8124

Booth SU902

Avid Connect, the annual gathering of the Avid Customer Association (ACA) will see hundreds of media professionals gather in person to discuss the latest industry trends and the future of the industry. The event will be held April 22-23, 2017 at Wynn Las Vegas prior to the NAB Show.

For the fourth year in a row, Avid is bringing media professionals together for this industry-changing event. Avid will announce the latest developments around the MediaCentral® Platform, the industry’s most open, tightly integrated and efficient platform designed for media, and Avid’s comprehensive tools and workflow solutions for creating, distributing and optimizing media. Avid will also unveil the results of the ACA Vote, which gives ACA members the unique and unprecedented opportunity to directly influence the company’s future technology, product and service offerings. The event will feature influential and thought-provoking keynotes, content-rich technical and business sessions, and insights from visionaries from a number of broadcast and media organizations.

Run by a dedicated group of global media leaders and visionaries, the ACA provides essential strategic leadership to the media industry. The multifaceted program engages an extensive network of broadcasters, creative professionals, and other media and technology partners to address the most important strategic issues facing the community and work together to shape the future proactively. Avid Connect 2017 provides an incredible opportunity for Avid customers to network with peers from around the world, interact with the Avid management team, and make their voices heard through formal feedback sessions on Avid’s strategy, products, and services.

For more details and to register, visit the Avid Connect website.

Blackmagic Design
Booth SL216

Join Blackmagic Design at booth SL216 to learn more about its latest products for the feature film, post production and television broadcast industries, including two new portable hardware control panels for DaVinci Resolve, its professional editing and color correction software. The new DaVinci Resolve Micro Panel and the DaVinci Resolve Mini Panel are true professional grade hardware control panels that feature three exceptional quality high resolutions trackballs, precision machined control knobs, illuminated buttons and much more. Hardware control panels are critically important for professional color correction because the colorist needs to “hold the image in their hands” as they manipulate multiple parameters at once to create new and highly stylized looks, or even make very subtle natural changes. The incredibly small USB powered DaVinci Resolve Micro Panel is available now for $995, while the larger but compact and portable DaVinci Resolve Mini Panel with built in LCD screens and dozens in instantly accessible menus is available now for $2,995.

Booth SL14805

Booth SL9111

Booth SU11416

Booth SU1702

Grass Valley
Booth SL106

Booth S201LMR

Booth SL2216

Booth SL14808

Booth N1002VR

Booth SL11127

Quantum  SL 5705

Booth SL8711

Booth SL 1805

Scale Logic
Booth SL 5324

Booth SL 8711

Booth C11001

Booth L28

Teledyne Lecrowy pSG
Booth SL 13706

Booth SL3316

Xytech Systems Corporation
Booth SL9324

14 2017 Mar

Therapy’s Lenny Mesina Provides Offline Edit & Audio Post Production for JellyWolf

Award-winning director Alma Har’el recently unveiled JellyWolf, a new short film for The Fifth Sense, a digital platform from i-D and CHANEL that explores the emotion of scent and the way it inspires female creativity.

Har’el’s eight-minute piece stars actresses Kiersey Clemons and Lisa Bonet in a magical, realist version of downtown LA brought to life with beguiling special effects: the young Clemons sets out on a journey to discover her mythical spirit animal “JellyWolf” with the help of Bonet’s modern shamanic beauty parlor owner.

Director Har’el has been lauded for her genre re-defining work that melds documentary and fiction. She picked up the top prize at Tribeca Film Festival for 2011’s Bombay Beach, as well as premiered her critically acclaimed latest feature LoveTrue, in 2016 to rapt audiences with longtime collaborator Shia LaBeouf as executive producer.

The reality-bending post production FX was brought to life by the team at DetEast Mexico, overseen by VFX supervisor Diego Vazquez. Editor Lenny Mesina of Therapy Studios brings a sense of movement and pacing that engages the viewer immediately and propels the narrative with a relentless flow, while the soundbed crafted by Therapy sound designer Eddie Kim heightens the tension and atmosphere. Colourist Brandon Chavez provides the richly saturated palette for the film, with sleek title design created by Placeworks + Scraplabs.

14 2017 Mar

Scotland’s STV Upgrades Avid Infrastructure with Next-Generation News Graphics

Leading commercial broadcaster deploys high-end graphics solutions powered by the Avid MediaCentral Platform to deliver stand-out programming.

Avid recently announced that STV, Scotland’s leading digital media brand, is deploying next-generation graphics solutions from the Avid Studio Suite. STV will optimize production processes and facilitate creative collaboration by using additional comprehensive tools on the tightly integrated Avid MediaCentral® Platform.

STV provides Scottish audiences with quality content live, online and on-demand, operating out of multiple broadcast hubs across the country. Scotland’s principal commercial broadcaster needed to upgrade an outdated graphics system at the end of its lifecycle to automate creative workflows across its sites, and to react to market demands more quickly.

Running a myriad of Avid Media Composer® editing systems and Avid Interplay® | Production asset management systems across its broadcast hubs in Glasgow, Edinburgh, and Aberdeen, STV is integrating multiple Avid Maestro™ solutions into its existing Avid infrastructure.  Maestro, part of the Avid Studio Suite, is one of the industry’s most comprehensive end-to-end real time high-resolution 3D graphics production tools.  STV chose Maestro to interact with viewers in an engaging way.

STV is reducing the overall footprint of its backend servers to run its multi-site system, eliminating any pre-existing interoperability issues, with the end vision of ultimately removing departmental silos entirely. By deploying Avid Maestro across its sites, STV will now have the ability to design and produce in-house graphic elements and single or multi-use templates, improving collaboration and reducing the amount of duplicated efforts by its work force.

“We operate in a very competitive environment so there is always demand for compelling programming and our upgrades will help STV to stand out,” said Sam Dornan, Channels Operations Manager at STV. “Avid’s tools will give our graphics teams across the channels the freedom of more fluid and dynamic elements which, in turn, will help us to distinguish our brand and build viewer loyalty via consistent and distinct themes across all our shows.”

STV will benefit from seamless integration of Avid Maestro with the existing newsroom systems across the multiple broadcast hubs, including Avid iNEWS. Maestro also provides social media integration via Social Media Hub, allowing the retrieval, filtering and on-screen display of content posted across a variety of social channels, including Twitter, Facebook, and Instagram. The investment also includes a support contract with Avid Global Services, providing users and operators across the regional Scottish hubs with access to training packages to increase the lifetime value of the new assets.

“By expanding its existing Avid platform, STV is providing eye-catching graphics to expand the scope of their stories to millions of viewers, whilst creating a unique workflow ecosystem across its regional broadcast hubs,” said Tom Cordiner, senior vice president, Global Sales, Avid. “The implementation of Avid’s next-generation products also allows for further expansion, including the adoption of future broadcast requirements, such as moving toward cloud-based workflows.”

STV reaches 3.5 million viewers each month, with first-class programming including long-running British soaps Emmerdale and Coronation Street, global entertainment phenomenons like The X Factor and Britain’s Got Talent, strong home-grown productions and the most comprehensive local news service in the UK. STV also delivers local TV for Scotland’s largest cities, STV Glasgow (launched in June 2014) and STV Edinburgh (launched in January 2015).

14 2017 Mar

Blackmagic Design Announces DaVinci Resolve 12.5 for Linux Now Available

DaVinci Resolve and DaVinci Resolve Studio are now available for Red Hat and CentOS Linux.

On March 2 Blackmagic Design announced that DaVinci Resolve, its professional editing and color correction software, is available on Red Hat and CentOS Linux. This allows customers with Red Hat or CentoOS 6.8 or 7.2 systems to download and use the free version of DaVinci Resolve or the full DaVinci Resolve Studio. Adding Linux support gives customers more choice in hardware, allowing them to build extremely high performance, low cost workstations for editing and color correction.

Previously, DaVinci Resolve Studio was only available on a special build of Linux for customers using the high end DaVinci Resolve Advanced control panel for professional colorists.

Read more here.

14 2017 Mar

Avid VENUE 5.4 for Avid VENUE

S6L streamlines and accelerates workflows for the most complex theater and other live sound productions.

Avid recently announced the availability of a new version of Avid VENUE™ Software for its award-winning Avid VENUE | S6L live sound system. Building on Avid VENUE | S6L’s success in the theater market, Avid has delivered a host of new workflows and capabilities powered by the MediaCentral® Platform to help sound designers and operators take on the world’s biggest and most complex theater and other live sound productions.

Theater productions are extremely complex, requiring extensive programming of scenes. Based on feedback from Avid’s respected community of leading theater sound designers, operators and system integrators, Avid VENUE 5.4 software delivers a host of updates to the Avid VENUE Snapshot and Events architecture that streamline, accelerate and enhance the programming of theater productions.

Updates to Avid VENUE | S6L’s Snapshot architecture enable sound designers to significantly streamline, speed up and enhance the programming of theater productions. Avid VENUE 5.4 also adds functionality to enable programming and workflows that were previously time intensive, and in some cases, impossible.

Enhancements to Avid VENUE’s Snapshots system include new momentary (non-sequential) snapshots, snapshot groups, and parent/child snapshots, and aux sends (up to 96) can be added to the snapshot Scope. Events updates give sound designers and engineers much greater flexibility to trigger events via external MIDI commands, LTC/MTC timecode values, the channel color and X&Y switches on the control surface, meter levels, and more, making almost all parameters available as triggers and actions. These enhancements are extremely powerful tools to program not only theater productions, but also other complex live sound productions.

Avid VENUE 5.4 also allows users to freely assign outputs between networked S6L systems sharing I/O for better collaborative flexibility, enabling engineers to assign Stage 64 outputs per output card instead of having to assign a Stage 64 entirely to one S6L system or another. This significantly improves the versatility and application of a shared I/O S6L system, for example where a FOH engineer needs dedicated control of a set of outputs that are feeding a PA system, while the rest of the outputs are controlled by a monitor engineer feeding in-ears, monitor wedges, etc.

“These latest innovations to Avid’s VENUE Software are part of Avid’s commitment to providing the most advanced tools and workflow solutions for our esteemed community of live sound customers,” said Dana Ruzicka, Vice President and Chief Product Officer at Avid. “With Avid VENUE | S6L’s growing success in the theater market, Avid VENUE 5.4 Software gives sound engineers the speed, flexibility, and efficiency they need to support the biggest, most complex theater and other live sound productions worldwide.”

Avid VENUE | S6L is a fully modular, scalable live sound mixing system that delivers best-in-class functionality for a range of live sound mixing applications, including front-of-house, monitor, broadcast, theater, and more. Featuring modern, touchscreen workflows and the industry’s most advanced live sound engine, Avid VENUE | S6L offers unprecedented power to easily handle large, complex tours and events. With tight integration with industry-standard Pro Tools®, Avid VENUE | S6L functions as the perfect front-end to the MediaCentral Platform, the most fluid end-to-end media management and distribution platform in the industry.


Customers with a valid Avid support plan can download Avid VENUE 5.4 software from their Avid Account free of charge. For more information, visit


14 2017 Mar

Interview with Mark Testoni, President and Chief Executive of SAP National Security Services

By Debra Kaufman

Testoni 300At the 2017 HPA Tech Retreat, Mark Testoni, president and chief executive of SAP National Securities Services, which sells, implements, supports and develops software for cybersecurity, spoke on my panel on artificial intelligence/machine learning. His company’s client base is government agencies, the U.S. Department of Defense, law enforcement, Wall Street and financial institutions. I sat down with Testoni for a more in-depth talk about the topic.

Kaufman: Tell me about your work for government agencies.

Testoni: Because we’re all U.S. citizens and have security clearances and know all the regulations, we sell to a very small market of people in the government. We help track threats relevant to big data and help the mission side of intelligence and defense. It’s actually many of the same things this industry is grappling with, with regard to big data.

Intelligence or law enforcement gather records, get warrants, have visual surveillance. We try to help them take those traditional methods and new information like open-source intelligence and blend it together to get a bigger picture of what’s going on. Big data can help sift through petabytes of video and social media data, and then convert it to something that’s actionable.

Kaufman: How could this impact the film/TV industry?

Testoni:  On Homeland, Carrie puts pictures and information written on paper on a wall, hanging from strings. She’s doing on the wall what we’re trying to help her do, but not just one or two things at a time, but many. The whole world is a big data problem. With artificial intelligence, can machines do the editing based on audio direction from the editor? It’ll be fascinating to see how this rolls out. Our customer base picks up lots of things via sensors. Rules are emerging to determine how they process it and turn it rapidly into information.

Kaufman: What are the pitfalls of AI? What should we worry about?

Testoni: Do you know how with stock market funds, in the little print, it says, “past results are not predictive of future performance”? The outcome is only as good as the data. Is there an opportunity for bad guys to get in there and manipulate it? Is it 100 percent foolproof? Privacy is going to be a big issue. In fact, it’s the one-year anniversary of Apple versus the FBI on that privacy issue.

The basis of that issue is that information is being collected and held by companies. Who owns that data? Is a photo of me in transit in a public area considered public or private? What about a photo of my house captured by a surveillance camera – public or private? Can the government access it?

There was a murder committed in Bentonville, Arkansas and the government asked for the data from the home’s Amazon Alexa, as well as information on water and heat use, as part of the discovery process. We have to have a public conversation about all this and legislate so companies and the government can operate in this new world.

Kaufman: There are already intellectual property and privacy issues playing out in the digital entertainment business. What’s your perspective on them?

Testoni: There used to be a finite number of people who could produce content, now that’s really changed and you have all this information and video. In general, everyone is collecting the information, from YouTube to every other platform. Under what circumstances can that information be sold or traded?  And it can be hacked. All those data stores are vulnerable.

From the viewpoint of the customer, when you download an app, what are you saying yes to? In Pokémon, people didn’t realize they were giving up their list of contacts. As consumers, we have to be smart. Companies that are getting hacked, not only are getting their intellectual property hacked but also their users.

Kaufman: Yet you say that, in general, AI will be good for us.

Testoni: I was at the Florida Department of Motor Vehicles to register my Jeep Wrangler, and while I’m waiting, I’m listening to an 80-year old man argue with the technician over what letters are on the vision test he was trying to pass. I want self-driving cars. The key is where the privacy line will be drawn. If I’m the object of a criminal investigation, how much of this data is discoverable? And are the companies holding it bound to turn it over or not?

Your industry is a communication industry as well as an entertainment industry, so you’re constantly looking for feedback. A movie or TV show ten years from now will probably be VR where AI will play a role. If you want a movie with different endings or where the user affects the outcome, that’s all AI.

Mark Testoni has been President and Chief Executive of SAP National Security Services since 2011 with responsibility for management, sales, consulting, product support, and go-to-market strategy for SAP’s most secure and sensitive U.S. government markets, customers and partners.


14 2017 Mar

Blackmagic Design Announces Innovative New Control Panels for DaVinci Resolve

New hardware color correction control panels are designed for new changing workflows

Blackmagic Design announced on March 2 the release of two new portable hardware control panels for DaVinci Resolve, its professional editing and color correction software. With professional editing becoming extremely popular in DaVinci Resolve, these new control panels are designed to allow color correction workflows to be mixed in with editing workflows, while introducing new levels of quality in affordable hardware control panels.

The new DaVinci Resolve Micro Panel and the DaVinci Resolve Mini Panel are true professional grade hardware control panels that feature three exceptional quality high resolutions trackballs, precision machined control knobs, illuminated buttons and much more. Hardware control panels are critically important for professional color correction because the colorist needs to “hold the image in their hands” as they manipulate multiple parameters at once to create new and highly stylized looks, or even make very subtle natural changes.

Read more here.

16 2017 Feb

Xytech and Phoenix7 Forge Technology Collaboration

MediaPulse and Zeus Integrate Channel Management and Facility Scheduling for the First Time

xytech logo15 February 2017 (Los Angeles, CA) Xytech, creator of the industry-defining facility management platform MediaPulse, has announced a technology collaboration with Phoenix7, creator of Zeus, the industry’s leading channel management system. This integration allows a channel schedule to automatically create jobs, schedules and transactions in MediaPulse. This adapter saves broadcasters from dual entry, reducing mistakes, lowering costs and increasing throughput. Simply put, the same staff accomplishes more tasks with fewer mistakes and greater transparency.

Channel management systems and facility scheduling systems have traditionally been disconnected islands within a broadcaster’s IT landscape. This collaboration allows for real-time channel scheduling and title information from Zeus to display in MediaPulse’s Schedule Book. The connection gives facility schedulers and personnel the ability to see immediate changes to a channel’s on air timetable and react swiftly.

Daniel Lynch, Vice President of Broadcast Services for Xytech, said, “Broadcasters must organize their people and resources around their live, on-air output. This is especially challenging for sports and news broadcasters.  The events driving their schedules are by nature highly volatile.  A match can be altered on short notice due to inclement weather or a broadcaster changing its decisions based on a team’s current standing. In the fast-paced world of broadcasting, staff, studios and equipment need to be repurposed quickly and accurately.”

The ability to assimilate these two different but critically related systems is possible because of the software development expertise of Phoenix7 and Xytech. A seamless interface between the products fulfills many client requirements.

Hitesh Vekaria, Founder and Managing Director of Phoenix7, said, “Integrating the channel management power of Zeus with MediaPulse is an exciting development and one we believe will be highly efficient in our customers’ operations. Working with the team at Xytech has been a great experience because Xytech and Phoenix7 both operate with a similar approach – to provide the best service for our customers as they operate under extreme deadlines and pressure. We see this integration as a concrete example of our commitment to improve service for customers.”

For more information, visit

16 2017 Feb

How Low Can You Go?

Craig German

Craig German

My original intent for this article was to explore how a TV producer or film director could conceive, create, and distribute a high production value show for a fraction of the “typical” cost.  We all know about Robert Rodriguez’s critically acclaimed $7,000 film, El Mariachi; Tyler Oakley’s $6M/year on-line social issues show; and student filmmakers who make compelling movies on nothing but free labor and borrowed equipment and rooms.  And there’s no question we can learn a lot in this industry by studying these examples to test our ideas about how we make great content.  But what I was after was this: how can we change our creative workflows and apply new products and services from industry disruptors to reduce the cost profile for what we do?  With limited print space and time, I decided on two things: I’d focus my attention on production and post in scripted TV and film; and I’d avoid quantitative budget comparisons, instead aggregating the thoughts of some of our colleagues into a picture of where we’ve made progress today, where we may go in the future, and where some of the challenges will probably persist.

Historically, scripted television and film have required significant budgets and heavy infrastructure. However, progress in technological innovation and the evolution of content business models have enabled and motivated us to seek lower cost profiles, with even greater expectations that costs will continue to decrease.  The sources of cost savings have been in several areas: workflow optimization; tools commoditization; cloud services; and open technology.

When we talk about workflow optimization, we’re talking about intelligent process choices.  Are there redundant steps?  Can we remove any dependencies to shorten the timeline?  If we change the order of events, do any steps collapse?  We’ve seen workflow specialists rise to the level of key players at post houses.  And with more compute power, cheaper storage, and greater connectivity, a workflow specialist has a deeper arsenal for his attack plan.

As an example, Jesse Korosi, Director of Workflow Services at Bling, has had increasing requests to be involved in a job from capture to final conform, going beyond the typical separation of on-set and post roles.  Often, much of the knowledge about the assets leaving the set for post is lost – it wasn’t captured in the first place, or it is not convenient enough to track.  By involving the workflow specialist in technical decisions up front, from how color is created on set, to the software used for metadata logging and VFX Data Wrangler notes, he is able to aggregate project metadata so that downstream teams can automate more of their processes.  Aside from some of the customized tools that a workflow specialist may use, many other software companies like Colorfront have opened up their products to enable workflow specialists to customize them, as well.

Another type of workflow optimization is talent focus.  Great colorists and sound mixers still command a premium and will likely always be appreciated for their importance, as evidenced by the many award categories at the BAFTAs, Oscars, Emmys, HPAs, etc.  Even in the indie world, as noted by Randall Maxwell, an indie producer/writer, you need the pop you get from the color pro and the mixer.  Is there a way to focus these talented professionals on where they add the most value, and not where the work is more preparatory or ancillary?  Adam Stern, Founder and CEO of Artifex Studios in Vancouver, has seen a trend of doing the initial sound or color work in a home studio before submitting it for the high end finishing step.  Having said that, you won’t achieve high production value without true talent, the right tools, and the right viewing or listening experience.  The choice you have is how close you want to get to the look you want before you engage with the real deal.

The term “cloud” has been around long enough that we all have a pretty good idea of what we mean when we say it.  But how does it help us to control our costs?  When cloud was first becoming a thing, the only solution most of us had on our lips was Amazon, and we were skeptical about what could be accomplished in the cloud, how secure it was, and whether it could meet our SLAs.  Ten years later, we also have Microsoft Azure and Google Cloud, major vendors have developed vertical ecosystems in each cloud solution, the cloud providers have a solid relationship with the MPAA, and there are sophisticated tiers of storage and compute to meet our varying post and distribution needs.  Erik Weaver, who ran the Entertainment Technology Center’s Project Cloud, observed through various case studies that creative teams were able to exploit editorial resources, via BeBop and Avid, as well as HDR color correction via Colorfront, in the cloud to complete their films, while only paying for the transactional costs of the actual cloud cycles.  Similarly, Adam Stern said that he now has the luxury of reserving budget that he used to have to hold back to keep up with the latest rendering hardware and infrastructure, and he is instead able to reallocate those funds directly to VFX burst rendering in the cloud.

Post production tools themselves have become more sophisticated and multi-purpose.  The competition from Final Cut Pro and Premiere has given Avid a run for its money, and our community has benefited as a consequence.  Although there have been questions over the past several years of whether Apple was serious about the professional market, they are still an important option for many post production professionals, whether as part of a large operation, or as an independent producer.  And this has certainly driven each of these vendors to lower their price point while piling on features that enable content creators to get closer to their final vision with a one-stop shop mentality.  As an even more extreme case of commoditization, look at the success of the film Tangerine at Sundance 2015 – shot completely on an iPhone 5s (with Steadicam and anamorphic lens attachments).  While the Tangerine crew still went through a traditional post phase, the fact that they could make a splash using a camera that doesn’t have ARRI, Sony, or RED in its name should give us all pause.

We’ve discussed a few areas of disruptive change – so what’s next, and what’s not?  It seems that we will eventually see all of our tools in the cloud, with metered access according to how much we use them.  More creative choice will be accessible on set, and eventually, even raw material will be delivered electronically.  Workflows will end up fully integrated all the way from the set, through post, and into distribution.  But – the need for sheer talent is essential to the creation of compelling content (at least, until Watson understands the greatness of Martin Scorsese or Matthew Weiner), and no one wants to put out a show without experiencing it in an environment that approximates how a viewer will see it, so mix stages and DI suites are also a fixture in the process.  As pointed out by Jacob Medjuck, an early pioneer of all-digital post, the biggest budget items in a mainstream film continue to be the talent, and music – since those are much harder to control, we’ll continue to focus on process and tools.  Our industry will continue to find ways to produce great content more quickly, for a lower cost, and for more platforms.  One thing that we can count on is that each of us will be asked to contribute in our own way to this on-going transformation.

I’d like to thank the following people for their input to this article: Jesse Korosi, Director of Workflow Services at Bling/SIM Digital, and Co-Head of the Young Entertainment Professionals group (YEP) at HPA; Jacob Medjuck, Film Director and Founder of Film Raiser; Erik Weaver, Global Marketing Director at HGST, and Project Cloud Lead at ETC; Randall Maxwell, Film Producer/Writer; and Adam Stern, Founder/CEO of Artifex Studios.

15 2017 Feb

SCRG Matures to NET (Networking-Education-Technology)

NET events launch in March – details to be announced shortly!

The HPA’s Sales & Career Resource Group, which was formed in 2007, has grown into NET (Networking-Education-Technology), formally launching next month with a fresh mandate for more networking, education and knowledge sharing on business and emerging technologies. Known for presenting lively networking events where HPA members shared ideas and stayed informed, SCRG evolved as the dramatic changes in our industry grew the demand for knowledge and the need for connection, particularly among the non-technical crowd.

“This gathering is an engaged, upbeat, exciting place to discuss what’s new, understand it, and get our heads around how it impacts what we are working on.  SCRG was a perfect launch pad for what NET is becoming – a place where the usual suspects and new faces gather to talk about what keeps them intrigued.  It’s a more than worthwhile way to spend your lunch hour,” says Josh Wiggins, NET chair. “Our initial event last year attracted nearly 100 people, and we’ve been deluged with requests for the next NET lunch.  If you are interested in being part of the event, please contact Alicia Rock.  We look forward to seeing you in March!”

With new speakers and a wide array of topics, NET events promise to be engaged and engaging. Details for the upcoming NET event slated for late March will be announced at the HPA Tech Retreat in Palm Springs.