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22 2016 Feb

HPA Tech Retreat: Next-Gen Cloud Workflows Hosted by ETC

The Entertainment Technology Center@USC hosted a discussion on next-generation cloud workflows, featuring toolsets and specific technologies. Led by ETC’s cloud project lead Erik Weaver, the conversation began with the real-world case study for post production in the cloud implemented by Los Angeles post facility DigitalFilm Tree. That company’s CTO/managing partner Guillaume Aubuchon led the audience through the workflows put in place to handle productions taking place in “remote parts of Asia and Africa.”

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20 2016 Feb

There were how many theatrical versions of Star Wars: The Force Awakens?

The sheer number of film formats now required for theatrical release is taking its toll on the industry. Speaking at last week’s Hollywood Professional Association (HPA) Tech Retreat, in Palm Springs California, Star Wars: The Force Awakens co-producer Ben Rosenblatt revealed just how many were required for Episode VII.

Read the full story here.

19 2016 Feb

The Latest From The HPA’s Tech Retreat

19 2016 Feb

New President, New Name, for HPA Seth Hallen Elected President of Just-Rechristened Hollywood Professional Association

At the HPA Tech Retreat held this week in Indian Wells, CA, the organization made two big changes. First, it changed its name (but not its identifying acronym) from the Hollywood Post Alliance to the Hollywood Professional Association. Second, it announced that Seth Hallen had been chosen by the board of directors to lead the organization, succeeding outgoing president Leon Silverman.

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19 2016 Feb

HPA 2016: Remote Live Production

INDIAN WELLS, CALIF.—The name of the remote game is pressure—the pressure to make live event television coverage instantly accessible, more effectively, for less money with no particular pipeline of trained recruits. That was the upshot of remote production panel discussion at the HPA Tech Retreat this week.

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19 2016 Feb

‘Star Wars’ Co-Producer Dishes on the Film’s Final Shot and HDR

A few Star Wars: The Force Awakens details were revealed by the film’s co-producer during a Hollywood tech retreat.

Co-producer Ben Rosenblatt answered questions about how the film was made and the ending. The final shot of the film was lensed from a helicopter, looking down at Rey and Luke, but Rosenblatt admitted that director J.J. Abrams was conflicted about using that shot or concluding with a close-up of Rey. He added that the decision was driven by John Williams’ score, and it “left you with this sweeping emotional epic [feel], and you’re going to see a lot of that in Episode VIII.”

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19 2016 Feb

Hurdles Remain Before High Dynamic Range Can Go Mainstream

Many technical hurdles still exist before audiences can enjoy High Dynamic Range (HDR) in their homes.

“HDR makes a noticeable visual difference,” asserted Ben Rosenblatt, co-producer of Star Wars: The Force Awakens, during the Hollywood Professional Association (HPA) Tech Retreat that wraps Friday in Palm Springs. “We are doing our HDR passes on Star Wars, and both Star Treks and the lastMission: Impossible.”

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19 2016 Feb

HPA 2016: Pete Putman’s CES Review

INDIAN WELLS CALIF.—As a matter of street cred,Pete Putman launched his annual Consumer Electronics Show Review at the HPA Technology Retreat with a slide of his old Heathkit Crystal Receiver Model CR-1that still works.

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19 2016 Feb

HPA Tech Retreat: The Production Workflow Incorporating HDR

A panel of cinematographers, a digital imaging technician and a camera manufacturer talked about HDR production workflow issues that begin in pre-production discussions. The panel’s moderator, VFX cinematographer Mark Weingartner, asked the panelists if there were “fundamental differences between the ways we have been shooting and the way we need to shoot” for HDR. Cinematographer Bill Bennett, ASC noted that “since the inception of cinematography, we’ve been recording HDR images with film.”

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19 2016 Feb

HPA Tech Retreat: How the Pros Handle HDR in Post Production

In a panel organized by Colorfront’s Bruno Munger and moderated by British Cinematographer magazine editor Ron Prince, a group of executives and engineers tackled the topic of HDR workflow in post production. Netflix production engineer for original content Chris Clark pointing to shows like “Marco Polo,” noting that, “Netflix is obviously really excited about HDR.” The company now sets up a pipeline that enables any production to “flip to HDR” if they want to. “We are all about future-proofing,” he said.

Read the full article here.