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Presentations

 

Video Presentations Now Available

TR2018_PROGRAM-TUESDAY

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.

Introduction to HPA Creative Tech UK 2018
Seth Hallen, HPA President
Rich Welsh, Sundog Media Toolkit

Please check back often as we will make new presentations available as we get them.

TR2018_PROGRAM-WEDNESDAY

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

10:20 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.
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

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

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

3:35 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

4:25 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

Please check back often as we will make new presentations available as we get them.

TR2018_PROGRAM-THURSDAY

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

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
Tom Sahara, Turner Sports

2:30 pm – 3:15 pm Automation of Versioning
Cédric Lejeune, Éclair

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

4:30 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

Please check back often as we will make new presentations available as we get them.

TR2018_PROGRAM-FRIDAY

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

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

 

Please check back often as we will make new presentations available as we get them.

Video Presentations Now Available