HPA’s Tech Retreat returns to the UK for its second year this July from 11 to 13, back at the wonderful Heythrop Park in Oxfordshire. Hot on the heels of a sold-out Palm Springs event, the UK Tech Retreat again promises the latest from Hollywood mixed with a strong local view from the UK and European industry.
The Supersession will examine the explosion of formats from cinema to home and beyond, looking at how creativity is impacted by the myriad of technology choices from lens to screen. The session will once again have content at it’s core, from from the camera right through the production and post process to the supply chain and the challenges of the ever expanding gamut of possibilities for audiences to consume content.
Tech Retreat Extra will explore Virtual Reality from a practical point of view with expert views from practitioners and a look inside real world projects being handled by leading local facilities. This not-to-be-missed session will lift the lid on the latest in VR,AR and MR production and workflows.
TECH RETREAT CONFERENCE PROGRAM (SUBJECT TO CHANGE)
The Reality of Virtual, Augmented, and Mixed Realities
There is a lot of curiosity, hope, hype and promise surrounding Virtual Reality (VR), Augmented Reality (AR), and Mixed Reality (MR). The question is, however, what are the realities associated with these platforms? During this very timely TR-X session, learned experts will explain the complexities of VR, AR, and MR. You will learn how and why the brain responds to VR, including the psychological and physical responses. A planned case study, based on a well-known feature related VR experience will explore real world application of the VR/AR/MR technologies. Finally, you will hear experts in the field share a study about the missing elements that are needed to make VR work for real!
The Versioning Explosion
Eric Pearson, of Pixar Animation Studios will discuss the detailed, collaborative work that goes into versioning their iconic movies. Exploring the creative decisions about what to version, the subtle nuances of tailoring each movie to the culture and customs of local territories, and the technical hurdles facing the industry’s most challenging version pipeline, this session will enlighten and enthral as we dive into Pixar’s cinematic world
Eric Pearson, Pixar Animation Studios
The Supply Chain Explosion
Industry leaders discuss how the huge number of formats and burgeoning data mining of content and audiences are affecting the supply chain.
Jim Bottoms, MESA Europe
Predicting the Explosion in Advance: Planet Earth II
An exploration of the BAFTA Award-winning BBC wildlife series and the balance required to deliver a cutting-edge visual experience planned years in advance of the technology roll-out.
Andrew Cotton, BBC
Andrew King, BBC
Rob Drewett, Cinematographer on Planet Earth II
Elizabeth White, BBC
Exploding the format: Lost in London
In 2002, within the course of a night, actor and filmmaker Woody Harrelson found himself in a misadventure in Soho that eventually landed him in jail. Earlier this year, Harrelson directed and starred in an unprecedented live feature-film event that recreated his crazy adventure. This session explores the creative and technical thinking behind a live movie experience and how this was achieved in a single take, with a single camera, while racing around busy central London – streamed live to cinemas worldwide.
Chris Brandric, Broadcast RF
Nick Fuller, Broadcast RF
Additional Speakers TBA Soon
Exploding the archive
The implementation of digital cinema has resulted in a history of films being unavailable to theatres unless converted to a digital cinema package (DCP) format. Digital restoration makes films more accessible while offering the opportunity to enhance content using modern display technologies. Panellists consider the benefits of restoration, whether this constitutes enhancement or ruins the authenticity of a film, monetisation of the archive, whether now is the right time to be restoring films and many more questions.
Adrian Bull, Cinelabs
Additional speakers, timing and panels TBD.
9:00 – 10:00 State of the Industry
9:00 – 9:30 Consumer Electronics Update – CES Trends and Analysis
In a unique presentation and report for HPA UK Tech Retreat 2016, DPP Managing Director, Mark Harrison, analysed the annual Consumer Electronics Show since 2010 to reveal the important long term technology trends behind the annual hype. In this special update, Mark looks at the key themes to emerge at CES 2017 and asks what they tell us about the longer term picture. He also predicts what we can we expect to see at CES 2018, and beyond. Of all the reports about CES, this is the one that puts the world’s biggest trade show into the the specific context of the media industry – and separates the noise from the trends that really matter.
Mark Harrison, DPP
9:30 – 9:45 DPP Update
Andy Wilson, DPP
9:45 – 10:00 UK Screen Alliance – UK Post/VFX/Animation Update
Neil Hatton, UK Screen Alliance
10:00 – 10:30 Connectivity Part 1: Can Remote Collaboration Revolutionise the Production Process?
Great collaboration can produce great content, and with emerging remote collaboration technologies on offer, studio and production companies are now able to benefit from a wider range of talent than ever before whilst speeding up their workflows and saving both Above-The-Line and Below-The-Line costs. How can organisations maximise the benefits of remote collaboration technologies? How simple is it to integrate these tools into the film production workflow? And what are the most critical baseline security measures that should be considered when collaborating remotely with your media partners? This panel will look to answer these questions and more.
Darren Wolfson, Pinewood Shepperton plc
10:30 – 11:00 Break
11:00 – 11:30 Connectivity Part 2: Cellular Solutions For Next Gen Production Pipelines
Matt Stagg, EE
Paul Shepherd, LiveU
Paul Charleston, BT Media & Broadcast
11:30 – 12:30 Cloud
11:30 – 12:00 Discovery Networks Cloud Migration
Richard Reid, Discovery Communications
Matt George, Equinix
12:00 – 12:30 Practical Use of Cloud Applications
Gurpy Saini, Avid Technology
Gareth Williams, YellowDog
Emma Perry, BAFTA
Richard Welsh, Sundog
12:30 – 13:30 Lunch
13:30 – 14:45 AI
13:30 – 13:45 Learning from Machine Learning
Machine learning and artificial intelligence are topics that are currently saturated in the media. Most of the discussions focus on “the singularity” (The technological singularity is the hypothesis that the invention of artificial superintelligence will abruptly trigger runaway technological growth, resulting in unfathomable changes to human civilization) We are likely years away from that extreme reality but there are still many less dramatic ways machine learning will change the world. How? = one focused use case at a time. We can already see many industries finding ways to implement ML strategies to improve and automate. In this discussion panelists will share firsthand experiences working on machine learning projects related to Telecommunications, Transportation, Oil and Gas, Public Safety, Retail (Physical stores and E-commerce), Insurance, Auto, and how each of these implementations help inform us of the many ways machine learning will be rolled out to support Media & Entertainment use cases today and in the future.
Jason Brahms, Video Gorillas
13:45 – 14:00 Creative AI Democratises Content Creation
How will machine learning technology facilitate creativity in the future? Creative AI will democratise content creation in a disruptive fashion: content will be able to be tailored to each individual viewer, producers will have unprecedented control over their campaigns’ content, and brand identity will create new engaging interactions for millennials.
Lydia Gregory, Jukedeck
14:00 – 14:15 How Machine Learning Can Tackle Media and Entertainment’s Big Data Problem
A video file is probably one of the biggest and most complex type of database there is. Consider how much metadata is embedded in a video file; who is in it, what is it of, how long is it, what equipment was used to create it, what are people saying in it? When you scale the amount of dark data trapped inside media content to consider an organization’s entire collection of content, you run up against a big data problem. The term big data just means a data set so large and complex that traditional data management is inadequate. For media and entertainment, that roughly translates to “I paid to create and store this content, but I can’t find it and I don’t know what is in it.” As the velocity of file based content continues to accelerate, so to will the challenges and cost of extracting value out of that content. Fortunately, machine learning can help. Consider a trained machine learning platform that recognizes celebrities. If you apply that cognitive service to all of your media content, suddenly you’ll be able to search by who is in your content. When a celebrity dies, you’ll be able to pull up all your interview footage with that person and have it ready for the 5 o’clock news.
Aaron Edell, GrayMeta
14:15 – 14:30 Machine Learning for Image Processing
Brian Hawkins, RealD
14:30 – 14:45 AI Panel
Jason Brahms, Video Gorillas
Aaron Edell, GrayMeta
Brian Hawkins, RealD
Lydia Gregory, Jukedeck
14:45 – 15:00 Break
15:00 – 15:30 Storage
15:00 – 15:15 Managing the Madness: Efficiently Handling the Flood of Data Flowing from High Resolution Cameras
Mark B. Anderson, Codex
15:15 – 15:30 The Storage Launderette
Tom Burns, Dell EMC
15:30 – 16:15 HDR Pipeline
15:30 – 15:45 HDR as a Leading Aesthetic
Bryce Button, AJA Video Systems
15:45 – 16:00 HDR OB over IP
Charlotte Wearden, Timeline
16:00 – 16:15 HDR – The User Described Experience
During the research about EclairColor, Éclair partnered with the DeVisu laboratory from Valenciennes to evaluate the experience difference between a regular DCI screening and a HDR EclairColor screening in a theater. The DeVisu team has developed a methodology to give unbiased results that rely on a set of questions and an interview to make spectators describe their experience with their own words. The used words are then treated semantically as to extract the range of sensations felt by spectators and deliver a qualitative analysis of the differential between the experiences.
Cedric Lejune, Éclair
16:15 – 17:00 IMF
16:15 – 16:30 Better, Faster, Cheaper and Lighter – Now it is possible…
Great content cannot be King! Well, it might be king if the supply chains that support its lofty position are fast, agile, cheap and efficient. The way in which production, consumption and delivery of localised premium content is changing faster than ever. Existing supply chains are patched, complex, creaking and breaking as sophisticated fragmenting business needs continue to grow. In looking to meet the challenges of remaining at the forefront of content production and distribution Turner is turning to IMF. The flexibility of IMF’s structure and its application to real world use cases make a great fit to allow us to operate today and to plan for the future without losing any knowledge of what we have along with what we have done with it on a global basis. The presentation will focus on the use of IMF, the global challenges and the role of distributed components in the final solution. Access to free IMF samples will be made available.
Steve Fish, Turner
16:30 – 16:45 IMF for Masters, Delivery and Archiving
Interoperable Master Format (IMF) can reduce film mastering cost by 20%. What is the real-life feedback? Does it really bring the expected benefits? The session will present the pros and cons of using IMF for real.
Francois Abbee, QVESTMEDIA
16:45 – 17:00 Deploying IMF at Scale
The Interoperable Mastering Format is reaching critical mass in terms of implementation, interoperability and concrete use cases in the Film and TV worlds. This paper considers some of the management issue when deploying IMF at scale. We start by looking at a typical small scale installation and how the IMF structure can be used to resolve Track File IDs and discover resources locally. We then scale up to see how that model might struggle at enterprise level and how a media asset management system might be used to consume, locate and synthesis IMF asset. We look, also, at the difference between edit-like interactive tools for IMF creation and fully orchestrated automatic creation and consumption. The paper will present anonymised war stories from a real-world automated IMF migration where hundreds of thousands of hours of material was automatically migrated to an IMF-ish representation.
Bruce Devlin, Dalet
17:00 – 17:15 Wrap up
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