In an effort to provide updates on the proceedings of the 2014 SMPTE Technical Conference and Exhibition presently taking place in Los Angeles, CA, this post was written live, and in the present tense, during one of the event’s panel discussions. Comments attributed to panel members are paraphrased unless denoted specifically by quotation marks.
The daylong SMPTE 2014 Symposium is being held at the historic El Capitan Theatre in Hollywood, CA on the first day of the organization’s Annual Technical Conference & Exhibition. The symposium is being hosted by the Hollywood Post Alliance as one of the first joint events SMPTE and HPA are putting together as they work toward consolidating their organizations by May of 2015.
The symposium begins with comments from Leon Silverman, President of the HPA and General Manager of the Digital Studio at Walt Disney Studios, along with Jerry Pierce, Vice-President of the HPA and Technical Advisor at the National Association of Theatre Owners.
This year’s symposium is meant to address workflow demands involved with emerging technologies offering higher resolution images with greater contrast, color and brightness, high frame rate production, immersive audio… generally more of everything.
During the first session, titled “So Tell Me More” Mark Schubin, whose not only the Program Chair at the HPA but has a list of credits too long to list here, does a yeoman’s job of educating attendees on the intricate details, studies of image resolution, high density range, high frame rate, screen brightness and immersive sound. Schubin’s presentation is so heavy on acronyms there are enough letters to make a complete alphabet soup in numerous languages. Way too much information to document in a blog post. At the presentation’s conclusion Pierce rightly says it was like “drinking through a fire hose”.
Suffice to say, big take away is that HDR provides the biggest bang for the buck when it comes to audience perception, but that there is no stopping 4K for a number of reasons, not the least of which is that marketers have gotten their hands on it and the technology is ready right now. HDR, laser light sources (screen brightness), immersive audio and HFR are still being worked on. Exacerbating the problems with imaging is that each of the enhancements interacts with one another… and not in a good way.
That brings us to the first panel discussion of the day, “What We Want To Do With More”. Journalist Carolyn Giardina moderates a panel that includes Ben Grossman, a visual effects supervisor who won an Oscar for his work on “Hugo”, Joe Kosinski, the director of “Oblivion” and “Tron:Legacy”, Steven Poster, a cinematographer who counts “Donnie Darko” and “Amityville: The Awakening” among his credits. and Steven J. Scott, a senior digital colorist at Technicolor whose numerous credits include “Gravity” and the “Iron Man” franchise.
Giardina conducts a quick survey of the room that reveals a good number of attendees work in post-production, only a handful working production and that an overwhelm majority are engineers (the latter to nobody’s surprise).
Giardina asks Kosinski if HDR is important to him. “Well I’m real excited by it, more than any other recent development, even more than 3D,” says the filmmaker. “That’s because anytime you can show your work that mimics the world we live in with the color and brightness of everyday life, I think that’s a good thing. Frame rate I have slightly different feelings on.”