Photo Gallery
Sessions
Click into the sessions below to watch the session videos and learn more about the panelists.
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The Wild West of Lens Meta Data
Industry Panel
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Creative Masters Spotlight: Making a Hollywood Blockbuster
Industry Panel
Speakers
Together we are bringing opportunities to You.
Building community in partnership with professional cinema and production organizations.
For more information on participating with CineEmerge as an official partner contact Kristin Petrovich.
What's Included?
The Total Experience Includes:
- Expert-lead topical discussions
- Curated product-focused technical talks
- Gear and technology displays
- Community Mix Hour
- Opportunities to meet peers, garner new connections…and get your next job!
There is no fee to participate.
Who Should Attend?
Who Should Attend?
Camera Operators • Cinematographers • Crew • Directors • Filmmakers • Next-Gen Content Creators • Producers • Production Companies • Studios
All production and cinema professionals are invited to attend!
Why Attend?
Why Attend?
Because change happens – rapidly.
CineEmerge in November will also serve as a launch pad for conversations to be continued at NAB Show April.
What's Included?
Industry Panel
The impact of HDR, on set, post and displays – the present and future
Consumer viewers are driving the adoption of HDR as an estimated one-third of North American household displays are now HDR—high-dynamic range. Content creators are adapting to this new technology on the set, in post, and in delivery. This panel of technologists and creatives will address the benefits and the current challenges when working with HDR from production to consumer consumption. Discussion will include such topics as the on-set evolution of monitoring, pipeline, shadow depth, budgeting and imaging chain. As HDR is not just one format, the panelist will also discuss the five formats.
MODERATOR:
Kari Grubin
PANELISTS:
Brad Bird
Michael Cioni
Paul Gadd
Daryn Okada, ASC
Dave Satin
Tech Talk
Production to Post: A Case Study for HDR/SDR from the Set of Sweet Magnolias
As HDR continues to grow in the minds of the film makers and how to tell their stories, it is becoming even more important to have the right tools on set to make decisions for both the SDR and HDR Deliveries. Most importantly, maintaining the cinematographer's creative intent seen on set and carried thru the post production pipeline.
Join Colorfront's CTO Bill Feightner and Brandon Heaslip with DIT Tyler Blackwell as they discuss color science, cameras, monitoring and analyzing tools used on the set of Sweet Magnolias and in Post Production. They will discuss how they were able to streamline both production and post production pipelines for both SDR and HDR workflows while maintaining the creative intent of Cinematographer Brian Johnson.
SPEAKERS:
Bill Feighter
Brandon Heaslip
Tyler Blackwell
SESSION SPONSOR:
Industry Panel
The Wild West of Lens Metadata
This panel of optical experts will discuss the importance of lens metadata, the open source and license solutions. The discussion will cover Cooke/I, Zeiss XD, and LDS 2 and what the Cinematographer, DIT and crew need to plan for when working with lens metadata. What are the long term benefits for budgets and producers, and where will the immediate costs be allocated. Join this group of notables addressing these questions that impact all aspects of production.
MODERATOR:
Jay Holben
PANELIST:
Erik Hansen
Dave Stump, ASC
Joachim Zell
SESSION SPONSOR:
Erik Hansen
Dave Stump, ASC
Joachim Zell
Industry Panel
Creative Masters Spotlight: Making a Hollywood Blockbuster
Hear the latest insights from creative masters behind some of this season’s largest blockbuster projects as they share their POV's from the sets. The conversation will explore how they inspire creativity, the on-set successes and challenges they faced, insights on special technologies and future trends in the industry, and more wit and wisdom from behind-the-scenes of these iconic feature films.
MODERATOR:
Paul Vaillancourt
PANELISTS:
Craig Haagensen, SOC
Kristen "KII" Correll
Dan Mindel, ASC
Pete Romano, ASC
Lawrence Sher, ASC
SESSION SPONSOR:
Kari Grubin
Vice President of Mastering, Studio Operations | The Walt Disney Studios
Kari Grubin joined The Walt Disney Studios in 2015 as the Vice President of Mastering, Studio Operations, where she is tasked with developing a long-term strategic vision for Mastering across the title lifecycle.
Kari is also the Chair of Women in Post for the Hollywood Professional Association (HPA). In 2016, Kari co-created the Young Entertainment Professionals Program (YEP) at the HPA which provides outreach and mentoring for future leaders in the Entertainment Industry.
In 2002, she formed Global Entertainment Partners (GEP) which was acquired by Deluxe Entertainment Services Group in 2006. From 2006 – 2013, Kari was Vice President of Post and Restoration for Deluxe Digital Media. Prior to that, she spent 10 years at Paramount Pictures Digital Mastering Operations where her last position was Head of Technical Operations.
Kari also spent two years focusing on cyber security for the Entertainment sector as a Sales Director at NSS Labs and holds 3 US Patents in Media and Entertainment Technology space as a Co-Inventor.
Hear from Kari at:
Industry Panel
The impact of HDR, on set, post and displays – the present and future
1:30 - 2:30 p.m.
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Michael Cioni
Global SVP of Innovation | Frame.io
Michael Cioni has been a serial entrepreneur in the entertainment space since 2003. After winning 4 National Academy of Television Arts and Sciences Emmy® awards, Michael founded and served as President and CEO of Light Iron, Hollywood's most advanced workflow-centric post production company. After Light Iron was acquired in 2015 by the largest international camera rental group, Panavision, Cioni served as SVP of Innovation and became the product director of Panavision's Millennium DXL 8K large format camera ecosystem. With over 200 feature DI credits to his name, Michael is of the most well known international voices for workflow technologies in the cinema space. He is constantly exploring new technological advancements and creative trends to build product roadmaps focused on serving the complex needs of today's professional filmmakers.
A frequent speaker on workflow and camera systems at many international industry events, Cioni is also an active member of the community having served on the board of the Hollywood Professional Alliance (HPA), is a member of the Academy of Motion Picture Arts and Sciences as well as an Associate Member of the prestigious American Society of Cinematographers (ASC).
Hear from Michael at:
Industry Panel
The impact of HDR, on set, post and displays – the present and future
1:30 - 2:30 p.m.
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Dave Satin
DIT, Local 600 Co-Chair Training Committee
Dave Satin, is a top Digital Imaging Technician (DIT), based in New York, who has worked as a DIT on several feature film and television projects such as; It's a Beautiful Day in the Neighborhood, Springsteen on Broadway, Super Soul Sunday with Oprah Winfrey, Super Troopers 2, Law and Order: Criminal Intent, and Kevin Can Wait to name just a few.
Hear from Dave at:
Industry Panel
The impact of HDR, on set, post and displays – the present and future
1:30 - 2:30 p.m.
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Brad Bird
Director
Brad Bird is the award-winning Writer/Director of the animated feature films: “The Incredibles”, “Incredibles 2”, “Ratatouille”, "The Iron Giant”, and the live-action films "Tomorrowland" and "Mission: Impossible-Ghost Protocol”. He is currently developing a live action musical for Sony Pictures, which will include 20 minutes of animation.
Hear from Brad at:
Industry Panel
The impact of HDR, on set, post and displays – the present and future
1:30 - 2:30 p.m.
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Daryn Okada, ASC
Cinematographer
Daryn Okada, ASC, is a cinematographer whose work encompasses movies of virtually every genre such as "Let's Be Cops," "Dolphin Tale 2," and "Emma" an early 4K High Dynamic Range short film. His other feature film credits include "Mean Girls," "Just Like Heaven," "Baby Mama," "Ghosts of Girlfriends Past," "American Reunion," "Cradle 2 the Grave," "Dr. Doolittle 2", "Anna Karenina," "Harold and Kumar: Escape from Guantanamo Bay," "My Father the Hero," "Captain Ron", Halloween: H20 and "Wild Hearts Can't Be Broken." Earlier in his career, Daryn earned an American Socie-ty of Cinematographers (ASC) Award nomination for the Emmy nominated CBS mini-series "In a Child's Name."
Daryn's cinematography has also contributed to the pilots for "Dawson's Creek," "Switched at Birth" and "Wasteland." Between feature films, he has photographed epi-sodes of the ABC series "Castle" and "Scandal." Currently, he alternates cinematog-raphy duties on the second and third season of" Station 19" for Shondaland/ABC Stu-dios. Daryn has also directed "Scandal" during its final season and episodes of "Sta-tion 19".
A Los Angeles native, Daryn Okada is self-taught in the art and technology of cinematography. He generously donates time in various programs to encourage young people from all backgrounds to pursue careers in motion pictures.
Daryn is a Governor of the Academy of Motion Picture Arts and Sciences (AM-PAS). Previously he has served three terms as President of the American Society of Cinematographers (ASC) and nine years on the Science and Technology Council of the Academy of Motion Pictures Arts and Sciences. Concerned with protecting the the-atrical cinema experience, Daryn volunteered numerous years during the examination and recommendation of theatrical projection technologies for the initial Digital Cinema Initiatives (DCI) Specification.
Hear from Daryn at:
Industry Panel
The impact of HDR, on set, post and displays – the present and future
1:30 - 2:30 p.m.
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Paul Gadd
VP of Post Production | Marvel Television
As Vice President of Post Production at Marvel Television, Paul oversees the post process from pre-production through final delivery. Paul is responsible for staffing, budgeting, long term planning as well as creating efficient work flows utilizing the latest technologies. Marvel Television was an early adapter of delivering series in UHD, HDR and Dolby Atmos for streaming series including Daredevil, Jessica Jones, Luke Cage, Iron Fist, The Defenders and Runaways.
Prior to joining Marvel Paul worked as a Post Producer on television series including The Walking Dead, 24, Body of Proof and Wonderland among others
Hear from Paul at:
Industry Panel
The impact of HDR, on set, post and displays – the present and future
1:30 - 2:30 p.m.
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Lawrence Sher, ASC
Director of Photography | Joker
Lawrence Sher, ASC is an American cinematographer and film director, best known for comedy films such as Garden State, The Dictator, and The Hangover series, frequently collaborating with directors Todd Phillips and Zach Braff. He made his directorial debut with Father Figures, which began a wide theatrical release on December 22, 2017, by Warner Bros. Pictures.
He recently served as cinematographer for the Warner Bros. Pictures, Joker, and is currently cinematographer for the feature film, The Starling, an upcoming American comedy-drama film, directed by Theodore Melfi, from a screenplay by Matt Harris. It stars Melissa McCarthy, Chris O'Dowd, Timothy Olyphant, Rosalind Chao, Daveed Diggs, Skyler Gisondo, Laura Harrier, with Loretta Devine, and Kevin Kline.
Hear from Lawrence at:
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Dan Mindel, ASC
DP | Star Wars: The Rise of Skywalker
In a career spanning more than 25 years, Mindel has worked with many of the industry’s most acclaimed directors including Ridley Scott, Tony Scott and J.J. Abrams. He is best known for his work on such blockbuster action films as Enemy of the State, Mission: Impossible III, Star Trek (2009), Star Wars: Episode VII — The Force Awakens, and most recently, Star Wars: The Rise of Skywalker.Mindel’s unique artistic approach to his cinematography, as well as his use of real film, are responsible for the signature look of the films to which he lends his talents.
Hear from Dan at:
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Pete Romano, ASC
DP | Ad Astra, Gemini Man, Once Upon a Time in Hollywood
Pete Romano discovered still photography while working in the catalog printing industry just out of high school. He bought himself a still camera and spent almost all his free time immersed in taking pictures while taking evening classes in photography at Boston College. He subsequently enlisted in the Navy upon learning that he would be accepted into their photo school program. There he received his first training in motion picture photography, and later he was accepted into the rigorous Navy Dive School. He became a U.S. Navy Underwater Cameraman assigned to Combat Camera Group, deployed out of San Diego, CA.
After completing his Navy service, Pete was determined to find a way to make a living in the underwater cinematography field. He was advised that if he had the skills to work on the mechanics of underwater photo equipment he would be more valuable to some of the underwater documentary makers of the time. He enrolled in machining school, and after graduating, found employment with several established underwater cinematographers, working as an assistant/operator, as well as designing and updating their equipment. In 1979, he received an Emmy award for additional photography on the television series, “Mysteries of the Sea.”
In 1980, while working at ILM as an assistant cameraman, Pete was hired to shoot his first freelance underwater commercial at a local swimming pool The experience, using rented 16 mm equipment, proved an extremely frustrating one – so much so, that he decided to build his own housing around the Cinema Products 16 mm Gizmo. He called his product, HydroFlex.
Hands on experiences as a 1st AC on many underwater productions such as “For Your Eyes Only,” ”Never Say Never Again,” “Jaws 3D” and “Splash” convinced him of the need for a standardized, operator-friendly underwater housing system for 35 mm motion picture cameras.
So in 1985, Pete designed and built his first two HydroFlex 35-3 housings around the Arri 35-3 camera. As an underwater cameraman, Pete incorporated elements that he felt would simplify and enhance the underwater shooting process. It wasn’t long before one of the local camera rental houses wanted to offer the HydroFlex housing as a rental option, and a business was born. Since then Pete has continued to refine the housing systems and has developed additional models for new film and digital cameras, taking into account his own needs as well as feedback from assistants and operators working ‘in the trenches.’
In 1987, Pete received his first motion picture credit as Underwater Director of Photography on “Jaws: The Revenge.” The next year Pete was hired as the miniature unit Underwater Director of Photography on “The Abyss,” the largest scale underwater feature ever attempted. This ambitious film required a lot of new technology, including the development of high-powered, safe underwater set lights. Pete and his former partner, Richard Mula, were given the plum assignment, and in 1990, they shared an Academy of Motion Picture Arts & Sciences Technical Achievement Award for the development of the SeaPar 1200w underwater HMI lamp.
Other professional recognitions include a 1995 Technical Achievement Award from the Society of Operating Cameramen (SOC) for the HydroFlex 35-3 housing system, and a second Technical Achievement Award from the Academy of Motion Picture Arts & Sciences in 2001 for the development of theRemote AquaCam. All of this grew out of Pete’s unwavering passion for the craft of underwater cinematography, and his awareness of the need for tools to help cinematographers like himself enlarge the storytelling possibilities of the wet and underwater environment.
In addition to HydroFlex camera and lighting equipment, Pete has designed and built custom underwater housings and lighting for the IMAX Corp., Iwerks Entertainment, Jacques-Yves Cousteau and Jean-Michelle Cousteau Productions.
Pete has amassed some notable feature film credits as Underwater Director of Photography over the last 20 years. They include: “The Fountain”, “Lady in the Water”, “The Life Aquatic with Steve Zissou“, “Men of Honor“, “The Italian Job“, “Pearl Harbor“, “Insomnia“, “Amistad“, “Saving Private Ryan”, “Woman on Top”, “In Dreams“, “The Rock”, “Waterworld“, “Free Willy 1, 2 & 3“, “Flipper“, “Tomorrow Never Dies“, “The New World”, “Max Payne”, “The Tree of Life”, “Farewell Atlantis” and “The Abyss”. His resume also includes numerous television and commercial credits.
In 2002, the Association of Independent Commercial Producers (AICP) honored Pete with an “Excellence in Cinematography” award (shared award), as Underwater Director of Photography on the Pocari sport drink “Tennis” spot. This commercial is now part of the permanent collection in the Dept. of Film & Media, Museum of Modern Art, New York.
Pete is a member of the Academy of Motion Picture Arts & Sciences (AMPAS), the American Society of Cinematographers (ASC), the Directors Guild of America (DGA) and a Director of Photography in the International Cameramans Guild, Local 600 (ICG).
Hear from Pete at:
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Craig Haagensen
Camera Operator | Motherless Brooklyn
Craig Haagensen, SOC camera operator, Motherless Brooklyn, has a long career working on multiple projects with Adrian Lyne, Ridley Scott, Tony Scott, Terry Gilliam, James Gray, Jonathan Demme, and DP’s Adam Greenberg, Harris Savides, Tak Fujimoto, Adrian Biddle, Darius Khondji, Peter Biziou, Roger Pratt, Richard Yuricich, and Bruno DelBonnel. Some of his favorite past projects include Jacob’s Ladder, 12 Monkeys, Carol and Mr. Robot (Season 1). Haagensen has DP’d several features, and is also a DGA member, having acted as director/DP on sequences for Black Rain, The Interpreter, The Next Three Days and We Own the Night.
Hear from Craig at:
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Joachim Zell
VP of Technology | EFILM/Deluxe
Joachim Zell currently serves as VP of Technology at EFILM/Deluxe, where he designs and monitors production workflows from onset production to the movie release. Previously he was VP of Advanced Technology at Technicolor Thomson in Burbank and before that he was Marketing Manager Americas at Grass Valley Thomson. During his time in London Joachim worked as Product Manager digital film systems for Pandora Int. He supports SMPTE as Hollywood Section Manager and served on the ASC Technology committee team that defined the ASC CDL standard and holds the position of ACES Project Vice Chair at the Academy of Motion Picture Arts and Science. Joachim holds a master’s degree in Film and Television Engineering and was co-writer on 4x image processing patents.
Hear from Joachim at:
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Jay Holben
Director and Producer
Jay Holben is an independent director and producer in Los Angeles, California. A former cinematographer, he is an Associate Member of the American Society of Cinematographers. Holben is the author of two commercially-published books on cinematography: the highly lauded independent lighting manual: A Shot in the Dark: A Creative DIY Guide to Digital Video Lighting on (Almost) No Budget and the compilation of a decade of cinematographic journalism in Behind the Lens: Dispatches from the Cinematographic Trenches. He is a contributing editor for American Cinematographer Magazine, a former Technical Editor and columnist for Digital Video magazine a lighting columnist for TV Technology magazine in addition to a contributor for several years to the prominent trade newspaper The Hollywood Reporter. Finally, he is a faculty instructor for the Global Cinematography Institute, an international lecturer, and the co-chair of the ASC's Motion Imaging Technology Council Lens Committee.
Hear from Jay at:
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Kristen "KII" Correll
Camera Operator | Ad Astra
Kristen “KII” Correll is a Los Angeles based camera operator working in feature films and episodic television. Her most recent projects include Amazon’s Homecoming, HBO’s Euphoria, Ad Astra, and Space Jam 2.
Hear from Kristen at:
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Tyler Blackwell
Digital Imaging Technician | Sweet Magnolias
By the time Tyler was 16 he had ran critical broadcast operations for a public television station, at 17 he took 1st in National and State competitions for video production and photography. By the time he was 20 he had earned his bachelor’s degree. On his 21st birthday he founded FOVEA, an on-set digital imaging and post-production company, which achieved goals and exceed expectations of clients and partners alike. Tyler has worked for/with companies including; BBC, MTV, NBC Universal, Blumhouse, Disney, NFL Films, ESPN, Warner Brothers, and Marvel Studios. Now in 2019, he's since left the post-production world and returned to working on-set as a Digital Imaging Technician. Most recently he worked as the DIT on Netflix's first season of Sweet Magnolias in Atlanta, GA. Tyler is a personable person and always works to build a lasting relationship with every client. Creating workflow efficiencies is his passion and the foundation for his work. He's one to familiarize himself with all manners of business he associates himself with, especially technology.
Hear from Tyler at:
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Brandon Heaslip
Support Manager | Colorfront
Brandon graduated with a BA degree in Film and Television from Columbia College of Hollywood in 2004, after college he joined Technicolor Creative Services as the On Locations Services Supervisor. During his role at Technicolor he helped to develop and support the first digital dailies software, which was implemented within a couple of years at all Technicolor facilities worldwide. He also helped to support Digital Advanced movie screenings and design numerous workflows for new digital cameras and color pipelines as the digital revolution was just beginning.
After a short period at Oasis Imagery, he joined Codex Digital as the Digital Acquisition Specialist and Lead Support Engineer. During his time at Codex the industry was booming with new camera technology, where Codex was the leader in capture and workflow for all the new cameras such as the AlexaXT/SXT, Alexa65, Canon C500, and Panasonic Varicam just to name a few.
He then joined Apple in the Marcom Video Productions team as the Workflow Specialist where he helped develop specialized workflows for internal and external apple product productions. He was also part of the engineering team that maintained over 300 render nodes, 4 VFX bays, 15 edit bays as well as four sound stages.
Most recently, he joined Colorfront as the Support Manager. In his role at Colorfront he has helped to develop and implement the CFE Workflow with AJA and Pomfort to create a fully Color Managed Workflow for both SDR and HDR onset and into post production.
Hear from Brandon at:
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Bill Feighter
CTO | Colorfront
Feightner began his career as technical director of Compact Video, before moving on to similar roles at Laser Edit and Composite Image Systems (CIS). He was co-founder and, most recently, CTO and executive vice-president of technology at EFILM Digital Laboratories (part of Deluxe Entertainment Services Group Inc.). At Laser Edit, Feightner created a live, realtime, multilayer VFX compositing system, and continued this pioneering approach at CIS, where he helped to develop the 2K pin-registered telecine system that revolutionized the process of interactive image compositing for feature films.
At EFILM his innovations included: new software for digital laboratory calibration; image processing and image management software; end-to-end, multi-site, collaborative workflow procedures and software; the world's first fully-digitally timed DI pipeline on We Were Soldiers (2002); and the world's first 4K DI finish on Spiderman 2 (2004). He was also responsible for the workflow on Extremely Loud & Incredibly Close (2011), the first US feature to shoot and post using the ARRIRAW format. During his time at EFILM, Feightner worked closely with Colorfront, harnessing the company's technology on many projects.
Feightner is currently CTO for Colorfront
Feightner has earned multiple awards. In 2007, he received a technical achievement award from the Academy of Motion Picture Arts and Sciences (AMPAS) for the creation of a Digital Color Separation process for the archival of motion pictures. He also received an Emmy Award for special effects work on the TV series Moonlighting, plus a Monitor Award for the opening segment of The Magical World Of Disney. In 2013, SMPTE awarded Feightner the 2013 Technicolor/Herbert T. Kalmus Medal, which recognizes outstanding contributions to the highest standards of quality and innovation in motion picture post-production and distribution services.
Hear from Bill at:
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Dave Stump, ASC
Cinematographer
David Stump ASC has been working in motion pictures and television production as Director of Photography, as Visual Effects Director of Photography, as Visual Effects Supervisor, and as Stereographer, (including both live action work and 2D to 3D conversion work), earning an Emmy Award, an Academy Award for Scientific and Technical Achievement, an IMAGO Technical Achievement Award and an International Cinematographers Guild Award. His credits include projects like Little Fires Everywhere, The Morning Show, The Happytime Murders, American Gods, The Unwilling, Immortals, Quantum of Solace, Flight Plan, Fantastic Four, X-Men 1 & 2, Into the Blue, Garfield, Batman Forever, Hollow Man, Men of Honor, Deep Blue Sea, Stuart Little, The Sphere, Contact, Batman & Robin, Mars Attacks, Executive Decision, Stargate, and Free Willy, among many others.
He is currently chairman of the Camera Committee and the Metadata Committee of the ASC Motion Imaging Technology Council. Under his guidance, the combined efforts of the Producer’s Guild of America, Revelations Entertainment and the American Society of Cinematographers produced both the ASC / PGA Camera Assessment Series, and the ASC / PGA Image Control Assessment Series, side by side comparisons of virtually all of the high end digital cinema cameras against film.
He has lectured and taught classes in Cinematography and Visual Effects at the American Film Institute, UCLA, Art Center College of Design, Woodbury University, Arizona State University, Global Cinematography Institute, IATSE Local 600, TV Globo Rio De Janeiro Brasil, and recently Savannah College of Art and Design. He has spoken at many conferences and trade shows including the National Association of Broadcasters (NAB), the International Broadcast Convention (IBC), Cinegear Expo, DV Expo, the PGA Produced By Conference, the Hollywood Post Alliance Retreat, the Cinegrid Conference, the IMAGO Conference, the Lisbon Film Festival, the Todos En Alta Conference in Zaragoza Spain, and many others.
David authored the book “Digital Cinematography – Fundamentals, Techniques and Workflows”, and was a contributing author to the “VES Handbook”.
Hear from Dave at:
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Paul Vaillancourt
Actor
Paul Vaillancourt is the co-founder of the iO West and has been teaching and performing improv for close to 30 years. In that time he has appeared all over the country including such notable venues as HBO’s Comedy Arts Festival in Aspen, Chicago’s iO (where he studied with the immortal Del Close), New York’s UCB Theater, and Austin's Out of Bounds Festival to name a few. Paul has also had success as a writer and producer, co-creating and serving as supervising writer for the MTV hit “The Blame Game” as well as lending his writing and producing talents to a score of other shows for MTV, VH1, USA, Oxygen, Bravo and AMC. He published a book about improv called “The Triangle of the Scene” (available on Amazon Kindle) and produces a weekly series of videos called “Improv Tips” available on his YouTube channel PVImprov.
Hear from Paul at:
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Partner
The Advanced Imaging Society
The Advanced Imaging Society was formed in 2009 by our industry’s creative stakeholders including The Walt Disney Studios Motion Pictures, DreamWorks Animation (DWA), Sony, Paramount, IMAX, Dolby, Panasonic, MasterImage and others to advance the creative arts and sciences of stereoscopic 3D. As new cutting edge technologies come to the forefront, the Society has been charged with “informing the content pipeline” of professionals on these emerging innovations. Where Technology Meets the Business of Content – with chapters in the U.S., China, Japan, Canada, the E.U., India and the U.K., the organization serves thousands of professional participants in over 20 countries active in improving the arts and technologies of advanced imaging.
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Partner
The Hollywood Professional Association
The Hollywood Professional Association (HPA) is the trade association serving the community of individuals and businesses who provide creative and technical expertise, support, tools and infrastructure for professional content creation, distribution and archive. Through our three pillars of activities — Community, Knowledge Exchange, and Recognition — the Hollywood Professional Association (HPA) advances the arts, science and business of the media and entertainment industry.
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Partner
Society of Camera Operators
The Society of Camera Operators (SOC) advances the art, craft, and creative contributions of the camera operator. The SOC is an internationally recognized professional honorary society. The core activities of the Society are the annual SOC Awards Show, publishing the Society’s magazine Camera Operator, and our charitable commitment to The Vision Center at Children’s Hospital Los Angeles. We serve the SOC membership through our commitment to advancing the role of the camera operator by providing education, supporting the development of technology and production methods, and honoring the members who have served before us.
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Partner
The American Society of Cinematographers
The American Society of Cinematographers was founded in Hollywood in 1919 with the purpose of advancing the art and science of cinematography and bringing cinematographers together to exchange ideas, discuss techniques and promote the motion picture as an art form — a mission that continues today.
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Partner
Blackmagic
Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.
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Partner
Colorfront
Colorfront is headquartered in Budapest, Hungary, with offices in Los Angeles, plus sales partners worldwide.
The company's popular, award-winning on-set dailies and transcoding systems are utilized by small, medium and large companies alike, to process and deliver media for Hollywood blockbusters, high-end episodic TV and OTT internet entertainment. The firm was founded in 2000 by Mark and Aron Jaszberenyi, who were instrumental in the advent of non-linear DI color grading. Combining in-depth expertise in image color science with a pedigree in cutting-edge software development, the company's R&D team earned an Academy Award in 2010 for Lustre, Autodesk's DI grading system, and a Primetime Engineering Emmy in 2012 for Colorfront On-Set Dailies. Colorfront has since become renowned for the innovation, excellence and performance of its camera-to-post products, which include On-Set Dailies, Express Dailies and Transkoder. The company has leveraged its technology to successfully offer Colorfront Cloud Services, and also owns and operates a state-of-the-art DI and post-production facility, of the same name, in Budapest.
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Partner
Film and Digital Times
Film and Digital Times is a bi-monthly journal [online and on-paper] by Jon Fauer, ASC about technique and technology, art and style, of high-end production.
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Partner
ICG Magazine
ICG Magazine is the premier multimedia trade outlet for filmmakers. Our primary mission is to create a greater awareness & appreciation for the work done by the members of ICG Local 600.
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Partner
Production Hub
ProductionHUB is a global network of local crew and vendors that serves the film and video production industry.
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Partner
ProVideo Coalition
ProVideo Coalition brings together the film industry’s best writers, bloggers and video experts under one URL.
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Partner
Studio Daily
StudioDaily helps film and video professionals evolve in their crafts and jobs with information on tools, workflow, technique and collaboration. Every weekday, StudioDaily publishes news, reviews and analysis of the dynamic world of content production for television, feature films, commercials, music videos, B2B, and more, along with insightful interviews and podcasts featuring award-winning professionals working at the highest levels of their craft. The StudioDaily Fix — a daily e-letter collecting the latest news from StudioDaily, curating cutting-edge video content, and collecting headlines from around the Internet — gives readers the information and advice they need to stay up-to-date with a fast-moving industry.
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Partner
ZEISS
ZEISS is an internationally leading technology enterprise operating in the fields of optics and optoelectronics. In the previous fiscal year, the ZEISS Group generated annual revenue totaling more than 5.8 billion euros in its four segments Industrial Quality & Research, Medical Technology, Consumer Markets and Semiconductor Manufacturing Technology.
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Partner
American Cinematographer Magazine
Don't miss out on these Award-Winning articles: feature film coverage, from Hollywood blockbusters to cinema's Independents, Television series, movies and more.
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Partner
IATSE Local 600
The International Cinematographers Guild represents the most talented camera professionals and publicists in the world. The technicians and artisans in our union are the creators of the visual images on the big screen, the television screen and our computer screen.
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Partner
LA | NY 411
Your production services resource for Los Angeles and New York.
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Partner
Lupo
Lupo is an Italian supplier of LED production lighting equipment. With high color quality, reliability and affordable pricing, Lupo is now growing rapidly in the US. LED Fresnels and flat panels in a range of sizes in both Bicolor and RGBW cover most lighting needs for studio and field production.
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BLUESHAPE
The BLUESHAPE brand is European designed and manufactured. Its premium video power products and accessories are distinguished by their leading edge technological answers to the issues of real-life users. BLUESHAPE directly manufactures all of its batteries, chargers and power stations. BLUESHAPE introduced the drop-resistant battery, is the only brand with an IP water and dust resistance rating and pioneered user-accessible battery status and health monitoring. BLUESHAPE created the HDplus batteries specifically for this application, providing 20A service, well above the 12A issued by the standard video battery. BLUESHAPE is the new standard for pro video power.
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Band Pro Film & Digital Inc.
For over 35-years Band Pro has specialized in products and solutions for professional filmmakers and videographers. From our offices in Burbank, CA; Munich, Germany; and Tel Aviv, Israel; Band Pro offers the highest level of knowledge and expertise along with the finest equipment and accessories available.
The company’s research and development protocol allows product lines to expand toward the newest technologies so clients can focus on the art and craft of cinematography. With close relationships in Hollywood and worldwide, and long-standing partnerships with camera and lens makers, Band Pro has remained at the forefront of the newest developments in digital cinema.
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Post Perspective
Founded by industry veteran Randi Altman, postPerspective draws on 20-plus years of insight and expertise to share intelligence for the post and production communities. postPerspective has emerged as a leading voice in the industry, with our website, newsletter, and special features spotlighting the artists, techniques and technologies shaping our community.
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Broadcast Beat
Broadcast Beat captures the niches that other outlets have cast aside and embrace the new markets and technology forming in the wake.