[
00:00:19 ] So you know I have been personally working in the big data
analytics for the past 18 years or so. You know based upon the recent
global big survey. The number one trend in that industry in particular
in the media industry as well is customer centricity. The other is about
how to personalize things. So when it comes to my session that it is
really about you know how we can actually. Leverage a personalizing view
view or experience to actually improve the content of your type. So you
know Noddy’s.
[ 00:01:10 ] I would say a lot of the business entity. They said okay we’re already personalized customer experience. But if Repya was I knew a little bit right a lot of people saying okay I’m telling my customers and just for the sake of pegging the customers. But a ways that the insiders in our cognitively inside the platform to look at how to best to personalize services to our customers our audience in this particular case is we’re really looking at the entire landscape. So we not only actually get the insight for the audience themselves we use various attributes to understand based upon the audience data the viewership data in this particular case to get to the attributes and the insight into the audiences themselves. More importantly because we are talking about a personalized experience so don’t forget those things all the content the site. So that means we have to do something similar. We need to do the content a tagging we need to use various attributes we use machine learning algorithms models to analyze content themselves so that we can best describe the content. Only after you are able to test to understand your content. At the same time your audience then we use a very rich set of the analytics and the models and Elbrus them to use our matching anjing. In another words recommendation anjing to bring the most relevant content to your audience. That is the way we achieve the optimal personalized viewing experience so. There’s many different ways you know to categorize the audience right. So seems like those static information the name age and home address those are very simple and straightforward. But nowadays with the introduction with the end of it it’s more so with a recent introduction for the adoption of the API in two different industries. People are getting more insight into the customers and audience. So for instance I have been working with so many customers around the globe. I would say was a very interesting example I also share with you is the personality insights. So if you ever go to one simple example here is go to that pad Talk Web site and you fly into my own Twitter handle the shomrei on the skull w n g. Guess what. What law. Actually it immediately pops up more than 20 attributes. Related to Sharma’s personal. Insults. That a person has a the insides. The first time when I look at it it really blows me away because I do understand who it is. But you know what. I still have so many attributes which I have not been so consciously aware of in the past. But when I look at the personality inside analysis immediately introduce additional attributes. When I see it yes I knew that’s show me and that could best be described Shammi is the same philosophy and a simple code apply to the other customers. And we are using that particular features and functions and the AI capabilities are in many different arenas that is just a one very recent example in terms of how I can introduce and it did arrive a lot more insight into us so that we can make sure that whatever our recommendation we will become more personalized more precise as well. So there’s many different the data sources available. Today which can help us to derive or get the Inside Out of our customers or audience. In other words. So for instance every single move. Every every behavioral. Actions. It all generates data that indeed it actually is a very good. Digital Footprint of who you are. What do you like. For example if you go to the Web site the click streams. You know how many times you go to a particular Web site how long you’ll stay which particular link you click. It To all the facts who you are right and all those behavioral data is analyzed. This is a one common example we are doing as of today to get the inside of you. Another very common. Example is based upon your social media presence that Twitter Instagram you know snap chat Facebook you name it every single little digital for. Print here. We actually actually combine all of those information. We do the sentimental analysis. Right the social media data is a very good source for the sentimental analyses so that we can understand your thinking behavior so we can get more insight into you when you are watching a movie when you are actually viewing a some news. What is your sentiment. It is so that we can based upon that to provide you the relevant information rather than the services. For example theres another example we actually have our particular. Dress which is one of the atut actors that present here the idea of the collar in York City years ago. That is when the actors walk down the red carpet based upon the social media tricks around her. You know her dress actually will reflect a different the lights that it is actually. Another very interesting is Dempo in terms of how I actually analyze those sentimental. They are into the real time to bring new value or new vision to the world. Privacy is indeed together with security is the number one concern or challenge I may see in these words. When we come into this new era. Right because literally every single digital fruit footprint you have. We are actually allow other people allow those technologist to analyze and understand you. So in order to create harmonize this society all together it is really quizes several issues to all work together. You know at the government level we are actually observe that around the globe every single crunching those new policies coming out to regulate the business and people’s behavior. Right. And also it is a business. Entity level. We are actually encouraging the business entities to follow the secret side to follow the government and laws and policies so that we can put a very honest brings practice in the marketplace and also to the people level. We’re actually sometimes and more so we need to cover our own. Confidential information very well. So it really requires a convergence of. You know given the level of the collaboration so that we can have a very harmonized society. And also I just want to share with you the common practice that for the business entities like ours what we do is we not only actually follow the government the laws and the policies. And another thing I really want to live together in the larger degree is you know we the common practice for us is we only analyze the data. It is a segmentation novel. We never allow them to analyze individually in the business practice landscape. So yes we are allowed to analyze the data but we will aggregate the similar group analyze get to the. Then the segmentation of that information can be best utilized for business values. So everybody’s mind is at peace.
[ 00:00:19 ] This entire project started for me back in December 2012 as you might remember there was this horrible gang rape that happened on a bus in Delhi. I was involved in these protests that were happening in the city and all over the country. And at one of these protests I spoke to a Delhi police officer and asked him what he thought about what happened to her and what was happening around him. And he said something that really got me started. He said No good girl walks home alone at night implying that she either deserved it or she provoked the rape. So at that moment I knew immediately that the problem of gender violence was not a legal problem but a cultural problem. And I wanted to approach it as an artist from that context. Now I’m a documentary filmmaker and the first instinct was to make a documentary. But I realized immediately that a documentary No teenager boy would watch it and they were the audience I was trying to reach. They just don’t watch documentaries in India. So I changed the format completely and decided to go with the comic book because Comic books are incredibly popular in India and especially with teenage boys and ended up creating India’s first female superhero who’s a rape survivor and the comic book got released in December 2014 and went immediately super viral with now over 26 million readers worldwide and close to 600 new stories. Sure. I mean it’s it’s really hard to sort of equate especially when things go viral because it was not nothing we anticipated it at all like we thought it would be a very small release. We had a big launch party at the Mumbai Comic-Con. But when things go viral it sort of goes out of you completely out of your control. Now I can tell just from just analytical that it really really reached a broad demographics. I think we still our focus is on teenage boys and we reach them primarily through the comic cons and through school distribution. But when it comes to viral I mean it just pretty much touches everyone. I was surprised overwhelmingly the response was incredibly positive. I mean this was in a radically new original idea of Indian female superhero. It was a rape survivors and it hasn’t been done before. And obviously there was a lot of fear on my part and everyone that I worked with that we would get a lot of feedback and negative feedback for broaching something like this. But I think the motivation was very clear and pure. And what’s kind of the beauty of the comic book format is these topics you know the first one is about rape and the second one is about acid attacks that we put out. No one wants to talk about these topics are really addressed them. But when you sort of put in the context of a comic book and especially if a superhero construct that everyone knows it becomes very accessible and equally important and it gives empowerment to survivors. I mean the goal of this whole project was to create empathy and understanding for survivors and to challenge patriarchy which is the core of the problem of gender violence Yeah I mean we were one of the first comic books to use augmented reality back in 2013 more we’re developing it. A.r was just on the fringes. No one really heard of it. I mean pokey Montandon was not released. It took another two years before Pokemon came out. So we were really on the forefront of using a car. The beauty of art in comics is our work so perfectly with comic books because it takes the images and put them to life. And it was a perfect fusion of two radically different mediums comic books originally of low tech I mean almost a monologue. It’s printed comics and then you take the app or the technology on your smartphone and you make something very low tech comes to life and we’ve done even more extreme stuff we’ve actually created street murals in Mumbai all over all over the world. So you know murals that are like three stories high and you can activate them and literally you see the characters on the walls coming to life and telling a story. You know we were like really on the cusp of kind of doing this and we one of the first implementations of A-R in India. So. So we were in a sense way ahead of where society was because I remember showing A-R at the comic cons in other places and it was like magic. You know people just didn’t understand what was going on. And so you have to sort of take that take those risks that at times it’s it was it was quite phenomenal the amount of attention we got and the response. I mean soon after we released the first comic book the UN Women the United Nations honored the project as a gender equality champion two years before they recognized Wonderwoman. So we were ahead of the curve on that. And then recently Fast Company honored the project as one of the top creative projects for business in 2017. So all of this was sort of not planned and it’s very exciting to see it come to fruition. Equally important is is actually more important and is very recently we started disturbing the comic book in schools in Delhi and where we were sort of coming home to where originally started from my protests in Delhi to now having the comic books available in schools in Delhi. It’s a very complex question. I mean I know a lot of people are very dubious when corporations try to do so should justice activism or or try to do products that deal with social issues. I mean I think the reason why this project was successful and I guess why we got recognized is the fact that everyone involved in the project or independent artist. I think if it was a corporation or a government trying to do something like this the audience especially teenage boys would totally react against it. You know they would they can smell a rat. And I think you know comic books have always been this underground very on the edge of form of storytelling and and it’s always been something I’m ever growing up reading comic books. It was something that I would take up to my room lock the door and read it. You know something like I’m very personal to me. And as a teenage boy it kind of inspired me or imagine something different you know. And I think that spirit has to always remain what you create. I’m not against making money. In fact I mean the comic book was never a money making endeavor. In fact all the digital copies and the printed copies are free. What we do how we raise our funds is through grants through the Ford Foundation through the World Bank and they support it and we support all the efforts we do.
Jon
Karafin has dedicated his career to innovation in live action cinema,
visual effects post-production, and light field technology, with a
proven track record of transforming bleeding-edge concepts into
reality.
At the 2016 NAB Show, Jon Karafin successfully launched Lytro Cinema,
ushering in a new era for cinematic capture and post-production. At the
2017 NAB Show, he’s announcing the formation of Light Field Lab, Inc., a
breakthrough technology startup located in Silicon Valley, California.
The company founders are comprised of light field technology
visionaries, PhD scientists, master engineers, and content creation
experts, coming together to perfect the light field entertainment
experience and provide content creators with unprecedented capabilities
in the years to come. The team is currently developing the
next-generation light field display experience and the world’s most
innovative holographic ecosystem.
At this year’s NAB Show sessions, Jon will articulate the creative
implications of volumetric display through a universal light field
construct, empowering content creators to explore and display their own
free-viewpoint light field experiences. He will demonstrate simulations
from dozens of light field creation methodologies, both for live action
and computer-generated content, starting with the highest resolution
dense arrays and ending with 2D and 3D-converted materials. These
explorations will clearly highlight the respective tradeoffs between
complexity, image quality, data storage, processing requirements, and
light field display considerations.
Jon is responsible for successfully delivering technology and content for several of the all-time highest grossing feature films, including Peter Jackson’s The Hobbit, Michael Bay’s Transformers 3, and Tim Burton’s Alice in Wonderland. Prior to founding Light Field Lab, Jon was the Head of Light Field Video at Lytro, Vice President of Production Technology at RealD, and Director of Production, Technology and Operations at Digital Domain.
Anette
Haellmigk has the eye of a classically trained Director of Photography,
but she also has vast experience shooting the most technical,
state-of-the-art, visual effects shots imaginable. In 2013, Anette’s
dream came true when she was invited to shoot HBO’s “Game of Thrones”
and the series has been her crowning artistic achievement, to date.
Since then, Anette has served as DP on 10 “Game of Thrones” episodes,
and was nominated for two EMMY and three American Society of
Cinematographer (ASC) Awards for her work.
Prior to “Game of Thrones,” Anette assumed the DP mantle on season
three of HBO’s “Big Love,” redesigning the series cinema aesthetic. She
also shot many TV projects, including special episodes of “The West
Wing” and the highly praised pilot and first season of ABC’s “The Nine.”
In addition, Anette was the cinematographer on numerous European
independent feature films, including “Casualties” and “The Happiest Day
of His Life.”
A German native, Anette began her career as a member of the “Das Boot” camera team and in the male-dominated role of focus puller on motion picture productions throughout Europe. She collaborated on five Paul Verhoeven films: “Robocop” (1st AC), “Total Recall” (Camera Operator), “Showgirls” (Camera Operator and Second Unit DP) and “Starship Troopers” and “Hollow Man” (both as Second Unit DP). As an operator, Haellmigk has worked with many first-class cinematographers, including John Bailey, ASC (“Divine Secrets of the Ya-Ya Sisterhood”), Alex Nepomniaschy, ASC (“All the Rage”) and Bill Pope, ASC (“Spider-Man 2,” for which she also shot Additional Photography).
Audiences always remember Amy DeLouise, who brings a dynamic and interactive approach to workshops and speaking engagements across the country in digital content production, brand strategy, cause marketing, and social media channels. An experienced director/producer, Amy has won more than 40 top national awards for creative excellence in video and multimedia production including the CINE Golden Eagle, New York Festivals and Telly Awards. She speaks regularly at major national and international conferences such as the National Association of Broadcasters (NAB), the National Association of Independent Schools, Digital Media Expo, DRI (“The Voice of the Defense Bar”), Women in Film International and many more. Her media production and consulting clients include: ChiefExecutive.net, Federal Express, Children’s National Health System, Jewish Federations of North America, USDA, and the Wolf Trap Foundation for the Performing Arts, among others. Known for her leadership in both entrepreneurship and media, Amy received the prized Woman of Vision Leadership award from Women in Film & Video and was named a Washington Area Woman-Owned Small Business Leader by the Women’s Business Enterprise National Council. She has served on the Women’s Advisory Board for The Washington Group/Mass Mutual and is a Trustee Emerita of the all-girls Holton-Arms School. An avid musician, Amy performs as the co-principal violinist of the NIH Philharmonia and sings throughout the Washington, DC region with the a cappella octet Venus d Minor.
Autumn Eakin turned her years of working under Maryse Alberti (The
Wrestler, Velvet Goldmine, Creed) and Vanja Cernjul (30 Rock, Orange Is
The New Black) into an artful resourcefulness she uses in her narrative
and documentary filmmaking, including Mavis!, Hard-Hatted Woman and
Peabody Award Winning No Le Digas A Nadie (Don’t Tell Anyone). She has
also shot projects for The History Channel, NBC, Hulu, Northface, Ogilvy
& Mather, FX and many more over her 10 years as an IATSE Local 600
member.
She has shot for acclaimed directors Amy Berg, Liz Garbus, Jessica Edwards, Elizabeth Chai, and Alex Gibney. Presently she is in post-production on Tribeca’s Through Her Lens project Wig Shop with Kat Coiro, the controversial hybrid film What’s Revenge and on the narrative feature The Light of the Moon with Jessica Thompson and One Day Home with Drew Denny. She is currently in production on the doc features Untitled Tough Love with Peabody Award winning director Mikaela Shwer, Malheur with Morgan Spurlock, The Actor Known as Burt Young with award winning director Raymond De Felitta and Project XQ with Lee Hirsch. In pre-production for Command & Control a narrative feature with Gregory Collins.
As
President of GroupM Multicultural, Gonzalo plays a key role in all
aspects of the multicultural media and marketing efforts initiated by
GroupM agencies Maxus, MEC, Mediacom, Metavision and Mindshare. The goal
of the division is to provide clients with a truly relevant,
informative and trustworthy point of view of multicultural markets and
audiences across the US, resulting in tailored communications strategies
based on in-depth knowledge of consumers.
Under Gonzalo’s leadership, GroupM Multicultural handles over $700
million in billings from clients such as Nestle, AT&T, Unilever,
Anheuser Busch, Mars, Colgate, L’Oréal, General Mills, Target, Netlfix,
Church & Dwight, Subway, Kimberly Clark and Bayer.
Gonzalo first joined the GroupM family in 2003 as Managing Director
of MEC Argentina. During his three year tenure he developed a reputation
for creative media thinking and activation. In 2006, he moved to New
York to launch MEC Bravo and in 2009 he was instrumental in combining
all the agencies under the GroupM Multicultural banner.
Gonzalo started his professional career at American Express Argentina and prior to joining GroupM, he worked for Visa, Hachette Filipacchi Agea and Editorial Televisa.
Matt Carson, a graduate from the University of Arizona with a BA in Film Studies, has been an Assistant Film Editor for the past 10 years of his career. He grew up around the industry with his father being a Music Editor, and always looked up to him, knowing he wanted to become an Editor as well one day. Some of Matts’ credits include, Film Director Shawn Levy’s “The internship”, “Real Steel”, “Night at the Museum 3”, and Tim Millers “Deadpool”. Through his experience on such films, he has learned cutting edge technology in both Production and Post Production and is not only passionate and creative, but willing to tackle any project that comes his way.
Director
of SET (Brazilian Society of Television Engineering), to which she has
contributed in various roles, and served as chair from 2008 to 2012.
Liliana graduated as telecommunications engineer from the Catholic
University of Rio de Janeiro. She worked for TV Globo for over three
decades, mostly deploying distribution systems – from analog broadcast
stations, through microwave, satellite and fiber optics relays, to
digital television terrestrial stations – and was also responsible along
many years for engineering guidance to Globo´s affiliated TV stations.
From 1994 to 2006, she lead studies and tests for the introduction of
terrestrial digital television in Brazil, in 2013/2014 worked in
collaboration with NHK to demonstrate live production of Carnival and
the World Cup in 8K. During the 2014 World Cup, she held live 4K
terrestrial broadcast demos in collaboration with NEC and Sony. She was
also highly involved for many years in the Brazilian Forum of Digital
Television and a founding member of FoBTV.
Liliana is currently one of the four voting members representing the broadcast industry in GIRED – Group for Deployment of Digital TV and Redistribution of TV Channels, which was established to supervise the migration of the 700MHz band from TV broadcasting to 4G. Additionally, Liliana serves as a counselor to the National Council of Social Communications, a consultee body to the Brazilian Senate.
Bryn Mooser is the cofounder of RYOT, the first immersive media company based in Los Angeles linking content to action. Bryn has overseen the production of over 60 virtual reality films created in collaboration with a number of marquee brands, including global partnerships with The Huffington Post and The Associated Press. As a documentary filmmaker, Bryn has co-directed and produced 10 award-winning documentaries, including “Body Team 12” which was nominated for an Oscar for ‘Best Documentary Short’ this year. Before RYOT, Bryn spent years as a humanitarian, serving in the Peace Corps and working in Haiti.
