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Presentations

TECH RETREAT CONFERENCE PROGRAM (SUBJECT TO CHANGE)

underlined content links to more info

TR2018_PROGRAM-MONDAY

11:00 am – 4:00 pm  Registration Open (At the Santa Rosa Ballroom Foyer)

1:00 pm – 5:15 pm  HPA TR-X: Everything You Thought You Knew About Artificial Intelligence in M&E And What You Didn’t Know You Didn’t Know

TR2018_PROGRAM-TUESDAY

8:00 am – 6:30 pm  Registration Open (Desert Ballroom Foyer)

9:00 am – 4:45 pm  HPA Supersession
It’s Still Snowing and We’re Just Making Bigger and Better Snowmen
Really, we’re still in the era of snowflake workflows? So many choices across so many different workflows. Learn from the pros about how we are producing content across the widest spectrum of content creation – from spots to blockbusters. From live, streaming to fully synthetic films without any humans before the camera. Come learn about how many K’s are OK, how bright is bright and how HDR changes the game (or does it?). Will ACES ace this test? Is it always going to be like this? Come learn about what it takes to get all this complex content to audiences – because your career depends on it.

12:30 pm – 1:30 pm Lunch

4:35 pm – 4:45 pm  What Just Happened? A review of the day by Jerry Pierce and Leon Silverman

4:45 pm – 8:00 pm  Innovation Zone with Cocktails (dedicated demo time)
Actus Digital, Adobe, AJA Video Systems, Ambidio, Aspera/IBM, ATTO Technology, Avid Technology, Blackmagic Design, Canon, CineCert, Cinnafilm, Cobalt Digital, Colorfront, Colour Intelligence, Dalet, Dolby Laboratories, Eizo, Elements/Syslink, FilmLight, Fortium, Frame.io, G&D (Guntermann & Drunck), GIC, Glookast, Grass Valley, GrayMeta, Hybrik, IHSE, Image Essence, Image Matters, Interra Systems, IRT (Institut für Rundfunktechnik), iXsystems, LizardFS, Lytro, Marquise Technologies, Microsoft, MTI Film, Netflix, Nevion, NexGuard/Kudelski Group, North American Broadcasters Association, Ownzones Media Network, Panasonic, Pixspan, Portrait Displays, Prime Focus Technologies, Quantum, Red Bee Media,  Rohde & Schwarz, Signiant, Sohonet, Sony Electronics, SpectraCal, Spectra Logic, SRI International, Streambox, The Studio-B&H, Technicolor, Tektronix, Teledyne Lecroy, Thinklogical/Belden, Venera Technologies, Visible Light, Wasabi Technologies, and Western Digital

TR2018_PROGRAM-WEDNESDAY

7:00 am – 7:00 pm  Registration Open (Desert Ballroom Foyer)

7:30 am – 8:30 am  Breakfast Roundtables

  1. OBID: Revolutionizing Audience Measurement and More, Chris Lennon, MediAnswers
  2. Testing IMF from the DPP, Andy Wilson, DPP
  3. The Users Perspective from IMF UG, Pierre-Anthony Lemieux , IMF UG
  4. NABA-IMF: The Route to Adoption, Clyde Smith, Fox, NABA
  5. Measuring What We Can See: 4K, HDR, WCG, Steve Holmes, Tektronix
  6. IP/PTP in Real-Time Production & Distribution, Karl Kuhn, Tektronix
  7. Evaluation of Pixel Representation, Ronan Boitard, Barco
  8. An Open-Source Software Foundation for the Content Creation Industry, Andy Maltz, AMPAS
  9. Data Security in Media Production and Archive Workflows, Jon Morgan, Object Matrix
  10. Hybrid Storage Workflows, Anthony Magliocco, EMTM
  11. ST 2110 and AES67: How Audio Fits Into Your IP Plant, Ken Tankel, Telos Alliance
  12. Production Security for Risk Reduction, Mathew Gilliat-Smith, Fortium
  13. Media Supply Chains, Simon Adler, SDVI
  14. HDR Single Master Live TV Production, Bill Feightner, Colorfront & Bob Hudelson, AJA Video
  15. Enterprise-Class Collaborative Editing with Adobe Premiere, Tom Mauro, Arvato Systems
  16. Light Field: Computational Cinematography Capture & Post, Buzz Hays, Lytro
  17. Object Storage: Aspera FASP Public & Private Cloud Options, John King, Aspera
  18. How AI Can Help Tell Better Film Stories: a Case Study, Yves Bergquist, ETC@USC
  19. OLED Update, Peter Putman, ROAM Consulting
  20. Riding the Public Cloud: Tales from the Media Maelstrom, Ian Hamilton, Signiant
  21. Simplifying International Versioning through Intelligent MAM, Chris Reynolds, Prime Focus
  22. Analytics & OBS: Mining Your “Data-Coin,” Martin Libich, HGST, a Western Digital company

8:30 am – 7:30 pm  Innovation Zone open for appointments

See program below for dedicated Innovation Zone hours

8:30 am – 8:45 am  Breathe

8:45 am – 8:55 am  Welcome
Seth Hallen, HPA

8:55 am – 9:15 am  Introduction & Technology Year in Review
Mark Schubin

9:15 am – 10:00 am  Washington Update
A lot has happened in the legislative/regulatory/legal world since last year.  How does it affect you?  Find out from our resident expert.
Jim Burger, Thompson Coburn LLP

10:00 am – 10:15 am  Refreshment Break

10:15 am – 12:15 pm  IMF Central
This fast paced session on IMF will cover new developments in the use of IMF and the business driven benefits for those adopting its usage. The presentations will range from the creation of the first of a kind SMPTE Document, a SMPTE specification for IMF for broadcast applications, the business drivers for its application and then move on to real world experiences of organizations that are actively using IMF in daily workflows at Sony Pictures and Visual Data Media Services discussing the process of adoption and the benefits thereof. The last presentation will discuss how adopting IMF in media asset management systems maximizes efficiency and lowers costs of operations. The IMF Central session will close with a panel discussion and audience Q&A.
Coordinator: Clyde Smith, Fox, North American Broadcasters Association

10:15 am – 10:20 am  Introduction
Clyde Smith, Fox, North American Broadcasters Association

10:20 am – 10:35 am  SMPTE Specifications: What, Why, and How?
With the rapid pace of change in technology and businesses requirements, an agile method to rapidly deploy the latest technologies was needed. To address these emerging needs the SMPTE and the DPP have joined forces to create SMPTE Specifications. This presentation will discuss the need for specifications, the differences between them and SMPTE standards as well as the mechanisms for creating them. The presentation will highlight all details with examples from the first of the Specifications developed in collaboration with the DPP.
Howard Lukk, SMPTE
Bruce Devlin, SMPTE

10:35 am – 10:55 am  The Business Benefits of IMF for Broadcast and Online
Just as manufacturing and sales of goods changed when shipping containers enabled the easy movement of goods globally, media packaging and the internet have created a global media production and distribution system that we all need to service. Netflix and Amazon built markets on the shoulders of traditional global broadcast giants by taking a different approach to their businesses. Creating content with an global market first approach. So why are there hundreds of versions of Disney’s Frozen and 80 versions of the BBC’s Doctor Who 50th anniversary special? It’s down to local regulation and cultural differences. To fulfill these growing requirements we have to change the way we version programs. We need to see mastering as a new route to save storage, costs and time. In fact we will argue that one of the core enablers of the movement to a global broadcast system is what the creation of IMF for Broadcast and Online was really set up to achieve.
Andy Wilson, Digital Production Partnership (DPP)
Andy Quested, BBC

10:55 am – 11:20 am  Sony Pictures implementation of IMF
This presentation will describe Sony Pictures’ implementation of IMF and how this has benefitted their studio operations and will show the steps taken in a successful adoption and implementation. Topics covered will include a deep dive on how they had to change the business and their practices in order to implement IMF.
Bill Baggelaar and Greg Geier, Sony Pictures

11:20 am – 11:35 am  Empowerment of CPLs
IMF enables the standard interchange and automated creation of downstream distribution assets, resulting in simplified post-production transcodes and reduced storage requirements.  This presentation will demonstrate the true potential of metadata in automating IMF flows utilizing examples based on hundreds of CPLs.
Tomasz Witkowski, Fishtank Cloud

11:35 am – 11:55 am  How Adopting IMF in MAM Systems Results in Greater Efficiency and Lower Costs
Adopting IMF in media asset management systems and deploying a true end-to-end workflows simplifies content distribution, reduces storage, maximizes efficiency and lowers costs. There are considerations, however, that need to be addressed at all levels. This presentation will utilize real world references and examples to discuss the guidelines that a new generation of media asset management (MAM) systems must follow to offer an IMF end-to-end workflow, including: leveraging IMF specifications, managing new version generation efficiently to ensure replication doesn’t occur until required, delivering content into an IMF specification seamlessly, and ingesting the IMF packages as they arrive and being able to generate new ones according to the SMPTE specifications, and much more.
Julián Fernández-Campón, Tedial

11:55 am – 12:10 pm  Panel Discussion and Q&A
All IMF Central Presenters and Mark Harrison, DPP

12:10 pm – 12:15 pm  Wrap-Up
Clyde Smith, Fox, North American Broadcasters Association

12:15 pm – 2:13 pm  Lunch (dedicated Innovation Zone time)

2:13 pm – 2:15 pm  Quiz answer & announcements

2:15 pm – 2:45 pm  Broadcasters Panel
Moderator: Matthew Goldman, Ericsson
Dave Siegler, Cox Media Group and Pearl TV
Rich Friedel, FOX & ATSC
Del Parks, Sinclair Broadcast Group
Skip Pizzi, NAB

2:45 pm – 3:15 pm  CES Review
Once again, Pete Putman traveled to Las Vegas to see what’s new in the world of consumer electronics. Is CES getting to be too big? Have 4K TVs become disposable commodities? Do you really want to have conversations with your refrigerator? Are Amazon and Google the 800-pound gorillas in CE now? What was it like to experience The Great Power Failure of 2018?  Are we starting to feel “Gadget Fatigue?” Are instant photo prints making a comeback? All of these questions will be answered (or cleverly ignored) in this presentation.
Peter Putman, ROAM Consulting

3:15 pm – 3:30 pm  Refreshment Break

3:30 pm – 5:45 pm  Advanced Cinema Technology Session
Higher frame rates, brighter brights, blacker blacks, maybe even direct-view cinema screens—movie theaters seem poised on possibly the greatest changes since the invention of projected movies.  Are there issues that might prevent those changes?  How might the industry deal with them?  And might the changes apply to living rooms as well?
Coordinator: Pete Ludé, Mission Rock Digital

3:30 pm – 3:35 pm  Introduction
Pete Ludé, Mission Rock Digital

3:35 pm – 4:00 pm  Projecting the End of Projectors: The Birth of Direct-View Cinema Displays
Since the advent of movie theaters, projectors have evolved from carbon arc lamps, through xenon and high-pressure mercury, to fully digital projectors using laser illumination.  But now a new approach is being explored–a direct-view emissive display using an array of millions of RGB LEDs. These giant LED displays hold the promise of extraordinary dynamic range and the ability to display a stunning picture even in moderate ambient light. This presentation will review the evolving technology that makes direct-view displays feasible for movie auditoria, as well as the challenges that face such a fundamental shift in motion-picture image technology.  You will learn about the ground-breaking potential of these new screens, trends in microLED technology that may provide the key to affordable solutions, and requirements for DCI cinema, including innovative sound systems that don’t require acoustically-transparent screens.
Pete Ludé, Mission Rock Digital

4:00 pm – 4:25 pm  Evaluating difference of Quality of Experience between Projection and Direct Light Display Systems
The Quality of Experience from display systems is directly influenced by technical concepts such as speed (frame-rate), sharpness (resolution), contrast (bit-depth and dynamic range), pixelization, screen door effect etc. However, perceptual concepts such as “warmth” or “feeling” of images also plays a role. Such perception concept are hard to quantify and thus to reproduce across display technologies. This evaluation aims at studying the variations of artistic intent across projection and direct light display systems. Professional content is graded on both systems and a user study is conducted to evaluate the impact of technology on each grade.
Ronan Boitard, Barco

4:25 pm – 4:50 pm  Black Level Visibility as a Function of Ambient Illumination
One of the key new attributes of HDR imaging and displays is the ability to present many stops of shadow detail, and with the best systems, an absolutely pure black.  The display performs at its best in a dark room since no illumination impinges the surface of the display, which would otherwise elevate the black level as a function of the display’s reflectivity. In addition, the viewer perform at their best, in terms of seeing the most shadow detail, when the region surrounding the display is also dark (assuming the field of view occupied by the display is greater than ~35 deg).  While there certainly are important applications where a display is viewed in a dark surround, there are also many cases where brighter ambient light levels occur. Knowledgeable viewers know not to have the room illumination aim at the display, but even for those viewers the surround luminance will be increased.  In order to understand the impact of the ambient illumination on contrast, shadow detail visibility, and further to guide ambient compensation algorithms, we performed a psychophysical study to assess the visual system’s ability to see detail as a function of the surround luminance. For the stimuli, we used a Gabor signal (a sinewave modulated by a Gaussian window) in order to probe the visual system’s best capability. For the display, we used a Pulsar display having a black level of 0.005 cd/m^2, but in order to study lower black levels such as occurring in the cinema, we placed a large 1.0 neutral density filter over the display to enable black levels as low 0.0005 cd/m^2. The surround luminances studies ranged from fully dark to 100 cd/m^ 2, and for each of these, thresholds were measured as a function of display mean luminance levels from .001 to 400 cd/m^2. The results are consistent with an existing surround effect visual model, which has basis in the cone photoreceptors. Of course, the results are also useful on their own sans model for pluge design, perceptual display performance assessment and tone-mapping applications.
Scott Daly, Dolby Laboratories

4:50 pm – 5:15 pm  Parametric Appearance Compensation
The key to consistent appearance is compensation for surround, brightness, colorfulness, and contrast.  The way these have been implemented in test systems and where this all might lead will be described.
Gary Demos, Image Essence

5:15 pm – 5:40 pm  Creative Frame Rates in Practice: War Stories and Successes
In the past year, we gained a great deal of real-world experience with creative frame rates in delivered products, and there are many lessons that have been learned about how production is impacted, what creative artists are looking for, and how the look has been received by audiences.  New test footage will be presented.
Tony Davis, RealD
Bill Bennett, ASC

5:40 pm – 5:45 pm  Q&A

5:45 pm – 6:00 pm  What Just Happened? A Review of the Day by Jerry Pierce & Leon Silverman

6:00 pm – 7:30 pm  Innovation Zone Open (dedicated demo time)

7:30 pm – 9:30 pm  Welcome Dinner

TR2018_PROGRAM-THURSDAY

7:15 am – 5:30 pm  Registration Open (Desert Ballroom Foyer)

7:30 am – 8:30 am  Breakfast Roundtables

  1. OBID: Revolutionizing Audience Measurement and More, Chris Lennon, MediAnswers
  2. Testing IMF from the DPP, Andy Wilson, DPP
  3. The Users Perspective from IMF UG, Pierre-Anthony Lemieux , IMF UG
  4. NABA-IMF: The Route to Adoption, Clyde Smith, Fox, NABA
  5. Measuring What We Can See: 4K, HDR, WCG, Steve Holmes, Tektronix
  6. IP/PTP in Real-Time Production & Distribution, Karl Kuhn, Tektronix
  7. Washington Update follow-up, Jim Burger, Thompson Coburn
  8. Migrating Production Studios to Data Centers, Andrew Osmond, Aperi
  9. RealCV: AI Applied to Video Recognition, Reza Rassool, RealNetworks
  10. Building a DAM Team, Jeffrey Stansfield, Advantage Video Systems
  11. High Speed Motion Control for All Production Departments, Jason Shupe
  12. Data Security in Media Production and Archive Workflows, Jon Morgan, Object Matrix
  13. Tape or Disk for Long-Term Storage, Anthony Magliocco, EMTM
  14. ST 2110 and AES67: How Audio Fits Into Your IP Plant, Ken Tankel, Telos Alliance
  15. Cybercrime Is Worse; Here’s Help, Mathew Gilliat-Smith, Fortium
  16. Media Supply Chains, Simon Adler, SDVI
  17. Overcoming Cloud Migration Challenges, Peter Wharton, Happy Robotz
  18. HDR Conversion w/Perceptually Optimized Color Remapping, Bill F., Colorfront & Bob H., AJA
  19. Interfacing HDR Displays, Peter Putman, ROAM Consulting
  20. Enterprise-Class Collaborative Editing with Adobe Premiere, Tom Mauro, Arvato Systems
  21. M&E Cloud Storage: Best with a Domestic MAM, Roger Beck & Eric Thorne, Elements
  22. Light Field: Computational Cinematography Capture & Post, Buzz Hays, Lytro
  23. Aspera FASPstream; Not Just for Video, John King, Aspera, an IBM company
  24. Borg Orgs: What Automation Will Do to Production, Yves Bergquist, ETC@USC
  25. UHD & HDR: Experiences in the Field, Mark Chiolis & Peter Wehner, Mobile TV Group
  26. Better Transfer Decisions Powered by Live Cloud Transcoding, Ian Hamilton, Signiant
  27. Simplifying International Versioning through Intelligent MAM, Chris Reynolds, Prime Focus
  28. TCO on Private Hybrid Cloud, Stefaan Vervaet, Western Digital

8:30 am – 2:00 pm  Innovation Zone open for appointments.

See program below for dedicated Innovation Zone hours

8:30 am – 8:43 am  Breathe

8:43 am -8:45 am  Quiz answer & announcements

8:45 am – 9:15 am  HDR Flavors
Moderator: Seth Hallen, Pixelogic and HPA
Don Eklund, Sony Pictures Entertainment
Pat Griffis, Dolby Laboratories
Bill Mandel, Samsung
Andy Quested, BBC

9:15 am – 9:55 am  Establishing Metadata Guidelines for Downstream Image Presentation Management on Consumer Displays
While increasingly rigorous color management frameworks enable filmmakers to communicate the look from set through final mastering, the downstream flow has yet to incorporate recommendations for aligning consumer displays to the program creator’s intent. What are the technical challenges? What is the value to stakeholders? Can the entertainment and CE industries work together to create a win-win solution? This panel proposes establishing a working group under SMPTE 2094 to explore metadata guidelines for downstream image presentation management.
Moderator: Michael Chambliss, International Cinematographers Guild
Steven Poster, ASC
Kelly Mendelsohn, Revelations Entertainment
Rob Hummel, Group 47
Bill Mandel, Samsung
Dan Rosen, Karl Storz Imaging

9:55 am – 10:30 am  ACES Update
Coordinator: Annie Chang, Universal
Joachim Zell, EFILM
Wolfgang Ruppel, RheinMain University of Applied Sciences

10:30 am – 10:45 am  Refreshment Break

10:45 am – 11:30 am  Remote and Mobile Production Panel
With a continuing appetite for content from viewers of all the major networks, as well as niche networks, streaming services, web, eGames/eSports, and venue and concert-tour events, the battle is on to make it possible to watch almost every sporting and entertainment event that takes place, all live as it is happening.  Join these key members of the remote and mobile community talking about what’s new for this area and what the workflows are behind the content production and delivery in today’s fast-paced environments.  Expect to hear about new REMI applications, IP workflows, AI, UHD/HDR, eGames, and eSports as well as getting a behind the scenes peek at how the 2017 U2 video was integrated into their concert-tour show.
Moderator: Mark Chiolis, MobileTV Group
Peter Wehner, Mobile TV Group
Scott Rothenberg, NEP Group
Wolfgang Schram, PRG/Nocturne
Tom Sahara, Turner Sports
John Vickery, Zeroth

11:30 am – Noon  VR and the Eclipse
With 44 satellite links and six million viewers, CNN’s coverage of the Great American Eclipse was the biggest live VR broadcast to date. Learn about synchronization, remote exposure control, moving-car- and helicopter-mounted rigs and other aspects of this unique achievement.
Alx Klive, 360 Designs

Noon – 1:58 pm  Lunch and Final Innovation Zone Time (dedicated demo time)

1:58 pm – 2:00 pm  Quiz answer & announcements

2:00 pm – 2:30 pm  Pixar’s Approach to Localization
Learn about the detailed, collaborative work that goes into the versioning of Pixar’s iconic movies: 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 should enlighten and enthrall with a dive into Pixar’s cinematic world.
Eric Pearson, Pixar

2:30 pm – 3:15 pm  Automation of Versioning
Coordinator: Rich Welsh, Sundog Media Toolkit
Henry Gu, GIC
Cédric Lejeune, Éclair

3:15 pm – 3:30 pm  Refreshment Break

3:30 pm – 4:00 pm  Understanding Blockchain for The Biz
If you’re not already involved with blockchain technology, you soon will be. Blockchain originally surfaced ten years ago as the underpinning of Bitcoin, the revolutionary cryptocurrency.  But within the last two years, blockchain technology has been recognized as far more powerful than simply for payments.  It can create a distributed ledger with the power to transform business operating models. Since it allows digital information to be distributed but not copied, blockchain technology has created the backbone of a new type of internet.  Recently, blockchains have been implemented for many aspects of transactional processing in our media and entertainment business, in both production operations and consumer engagement.  In this session, you will learn the basics of how a blockchain works, and how the Ethereum cryptocurrency has enabled secure tokens and “smart contracts” to (hopefully) simplify operations and remove the middle-man for many operations. We will review the business model of over two dozen new companies supplying blockchain-based solutions to the media and entertainment industry.
Pete Ludé, Mission Rock Digital
Steve Wong, DXC Technology

4:00 pm – 4:30 pm  Reinventing Digital Content Storage and Interchange with Decentralized Ledgers and Machine Learning
The media industry has experienced dramatic growth in OTT services and transformation of the direct-to-consumer business with a backdrop of massive innovation in cloud infrastructure, decentralized blockchain ledgers, and machine learning. Yet in spite of this renaissance, the industry is still largely reliant on an ad hoc supply chain and contracting, disparate storage, and a legacy distribution architecture. Key technical challenges, capabilities of the new technologies, new approaches that harness distributed ledgers, a scalable storage solution governed by the ledger, and machine learning techniques to drive significant reduction in media distribution costs and high quality distribution will be described as well as foundational concepts of blockchain technology: decentralized trust, zero knowledge proofs, and smart contracts, and advanced supervised learning techniques applied to optimize client request routing. Common workflows reinvented in this new decentralized platform and quantitative results for distribution quality will be shown.
Michelle Munson and Serban Simu, Eluvio

4:30 pm – 5:15 pm  The Project Budget War: Views from Both Sides and the In-Between
The project budget is set. The EP places attention (and budget) on talent, shooting, production deadline. Post production focuses on tools, workflow asset management and time. The panel explores solutions that can streamline and uncomplicate work flow to save assets, resources, deadlines and money.  Panelists will discuss how the project team can recognize and take the proper steps to implement the right solution for every project that will satisfy everyone including accounting.
Moderator: Andy Marken, Marken Communications
Jeff Stansfield, Advantage Video Systems
Cirina Catania, The Catania Group
Larry O’Connor, OWC
Aaron Semmel, Semmelboomboom

5:15 pm – 5:45 pm The Rise of eSports
An exploration of cultural and technological coalescence to help understand whether eSports are here to stay and where they fit in the entertainment economy.
Josh Rizzo

5:45 pm – 6:00 pm  What Just Happened? A Review of the Day by Jerry Pierce & Leon Silverman

TR2018_PROGRAM-FRIDAY

7:15 am – noon  Registration Open (Desert Ballroom Foyer)

7:30 am – 8:30 am  Breakfast Roundtables

  1. Media Function Virtualization: a New Business Model, Andrew Osmond, Aperi
  2. Testing IMF from the DPP, Andy Wilson, DPP
  3. The Users Perspective from IMF UG, Pierre-Anthony Lemieux, IMF UG
  4. NABA-IMF: The Route to Adoption, Clyde Smith, Fox, NABA
  5. Understanding Blockchain, Steve Wong, DXC Technology
  6. 10th-Annual Steve Lampen Asks Questions of Merrill Weiss
  7. Is the News Control Room Obsolete? Chris Lennon, MediAnswers
  8. Media Ingest into the Cloud, Harsha Kanna, Microsoft
  9. High Speed Motion Control for All Production Departments, Jason Shupe
  10. Data Storage Analytics: What Is Going on in the Cloud? Anthony Magliocco, EMTM
  11. Gadget Fatigue, Peter Putman, ROAM Consulting
  12. Securing Your File and Stream Production Workflows with Aspera, John King, Aspera
  13. The Schubin AI Project, Mark Chiolis, HPA/MTVG
  14. Economics of Disk vs. Tape, Martin Libich, HGST, a Western Digital company
  15. Don’t Burn Colorists’ Eyes with HDR, Cédric Lejeune, Éclair
  16. What Impact Will AI/ML Have on QC? Ramon Breton, 3rd i QC
  17. HDR Is the Wild West… Help! Terence Curren, Alpha Dogs

8:30 am – 8:43 am  Breathe

8:43 am – 8:45 am  Quiz answer & announcements

8:45 am – 9:15 am  Predicting Trends: Why We Get It Wrong and How to Get It Right
Consider the innovations brought by consumers to media in the last decade: binge-watching; mobile video; vertical video; captioned short form; live streaming. These new trends happened suddenly and en masse. All have had a direct impact on the media supply chain, reflecting the new reality that it’s consumers who are calling the shots. But did we professionals see these innovations coming? No. We occupied our conferences, trade shows and magazines with excitement over interactive TV, 3D, second screen, VR – none of which have had comparable impact. Looking at the evidence around innovation, why is trend prediction more important than ever, and what gets in the way of us getting it right? What would it take for us to guess better?
Mark Harrison, DPP

9:15 am –   9:45 am  SMPTE Update
Howard Lukk, SMPTE

9:45 am – 10:15 am  Detection of Modified Video
Ed Grogan, Department of Defense

10:15 am – 10:45 am  Immersion and the Singularity: The Fusion of AI, Social, Advertising, and Entertainment
Our industry traditionally views AI, Social, Advertising, Broadcast, and Online as distinct and separate technologies and challenges. And traditionally, they have been. But there is an ongoing, massive merging of all these threads into one, new stream of content and entertainment that will change how we all approach delivery and distribution. Explore current technology trends in AI, social, and advertising, and learn through case studies how audiences are built and maintained through these trends, and how that bleeds into and sometimes overtakes the traditional worlds of broadcast. Learn why that matters so much in the emerging worlds of 360/VR/AR/XR, and how these trends will accelerate the acceptance of these formats.
Lucas Wilson, Supersphere

10:45 am – 11:00 am  Refreshment Break (load up on treats before the post-retreat treat)

11:00 am – 11:30 am  Virtual Cinematography and Storytelling Engines
A unified procedural camera system for games, film-previsualization and virtual cinematography enables video game developers to create cinematic content rendered in real-time, bringing significant production efficiencies enabling more time and focus on the creative. Tools like this are also being used in the creation of photo-real and ready-to-consume stories.
Ramy Katrib, Digital Film Tree
Adam Myhill, Unity Technologies
Joachim Zell, EFILM

11:30 am – Noon  Perceptual Fatigue in Film, Broadcast and VR
As humans, we experience the world through five primary senses, but our perceptual bandwidth is merely a tiny fraction of the reception bandwidth, i.e. the amount of information our sensors objectively register. Based on a review of recent physiological and psychological studies, the paper provides new insight into human prioritization of the senses, relevant to AV production, and mechanisms behind throwing away salient information. The temporal grey-zone of perception is explained, and examples are given on how it may be used in creative and technical decision making while editing. Finally, the study details factors in the development of visual and auditory fatigue and discomfort.
Thomas Lund, Genelec

Noon – 12:30 pm  Where We Are Heading
In 20 years, we will not recognize the tools and techniques we will then be using to manipulate audio and video.  Just as there are still people making saddles and horseshoes today, there will still be people using today’s equipment and techniques, but  not many, and it will be a lot more expensive than the alternative new technology.  The quality, consistency and reliability of the new way will make it impossible to resist for the vast majority of users.  Economies of scale on the data side will make any box built for the audio-video professional expensive and unsupportable.  Further, any application (even those required by broadcasters, Hollywood, and other audio-video producers), will be covered by specialized software.  And the control architecture can be just as easily modified to manipulate/edit/process/distribute content for these audio-video applications.
Steve Lampen, Belden

                                    OFFICIAL END OF 2018 HPA TECH RETREAT                          

 

12:30 pm – 1:00-ish  Post-Retreat Treat
“It Talks!” a Very Brief History of Voice Synthesis
Why did the HAL 9000 computer of the movie 2001: a Space Odyssey do what it did as it was losing its mind?  In a 1975 opera about love between a talking computer and its creator, who played the talking computer?  And what about that 10th-century pope?
Mark Schubin