Past Events

4K. Yes, 4K. – San Francisco, November 20

4K Workflow 20132013_ASG_4K

Date: Wednesday, November 20, 2013

Time:  10 a.m. – 5 p.m. PST

Location: New People Cinema

1746 Post St

San Francisco, CA 94115

 

It’s not a technology demonstration. It’s not vaporware. And for many video professionals, it’s not going to be optional for long.

4K has already being dubbed “the new HD” in some circles, and has quickly gained traction as the production format of choice for episodic television, motion pictures, commercials, and independent productions. But what are the advantages of 4K? What are the disadvantages? Is there a “right” way to manage the data-intense 4K content? What are your best choices for cameras? Does transcoding cause a 4K post-production bottleneck? How are broadcasters addressing 4K?

Advanced Systems Group LLC can help you navigate through the 4K transition with its free annual workshop, which is devoted to 4K and large raster acquisition workflows. Along with a panel of experts, including industry veterans who have already embraced the advantages – and challenges – of 4K, ASG will guide you through the 4K production process.

Thanks to our sponsors:

 

    QLogic   AJA_Logo Christie_RGB_LowNetapp_logo   

 
 
 
 
 
 
Registration is free and lunch is included, but space is limited. Please register now.
 

The Japan Center Garage entrance is located right in front of NEW PEOPLE on Post Street that also could be accessed from 1610 Geary Boulevard.

Confirmed Speakers

  • Suny Behar, Director of Photography, Industry Consultant, and Instructor at UCLA Film, Television & Digital Media Department
  • Jordan Livingston, Independent Filmmaker and Digital Imaging Technician (DIT), DIGILOID
  • Ian Trow, Senior Director Emerging Technology & Strategy, Harmonic, Inc.
  • Gary Coates, Colorist
  • Kenneth Gust, DI Supervisor / Founding Partner at Synaptic VFX

 

Program Highlights

  • Cameras Options
  • Data Management
  • Post Production
  • Color Correction/Management
  • High Efficiency Video Coding (HEVC) 

 

Current Schedule (subject to change):

10:00            Acquisition of 4K
                    Suny Behar, Cinematographer, Filmmaker, Instructor
11:00           DIT , Data Management and On-set Color Workflows
                    Jordan Livingston, DIGILOID
12:00                Lunch
1:00             How will 4k migrate from home cinema applications into a true broadcast HD replacement?
                    Ian Trow, Senior Director Emerging Technology & Strategy, Harmonic, Inc.
2:00             Color finishing UHD and 4K
                    Gary Coates, Colorist
3:00             Pros and Cons of 4K, and Planning
                    Kenneth Gust, DI Supervisor / Founding Partner at Synaptic VFX
          

Presentation and Presenter Info:

Acquisition of 4K

Suny Behar, Director of Photography, Industry Consultant, and Instructor at UCLA Film, Television & Digital Media Department

Suny will focus on acquisition of 4K. The big controversy right now is the whole idea of 4K compressed, vs 4K uncompressed, and at what point are you actually acquiring less information in 4K then you were back in 2K.

Suny’s career began in the theater, where he wrote and directed several plays for the stage in Toronto and Los Angeles. In 1997, he shifted his focus and enrolled in UCLA’s prestigious Masters Program in Film and Television, earning himself an MFA in Directing and Cinematography. From there, his work in the field of visual storytelling has included a wide array of forms and formats over the years. From working in Camera Layout on PIXAR’s animated feature “CARS”, to shooting live in-studio rock bands, music videos, short narrative films, feature films, and commercials, Suny has been able to explore all sorts of capture mediums ranging from Fisher Price’s Pixel Vision camera to today’s latest forms of high end Digital Cinema acquisition. Suny’s expertise in the realm of digital acquisition has allowed him to serve as a consultant to many Fortune 500 companies throughout the years, including Panasonic, Google and HBO. When he is not busy directing, shooting or consulting, Suny can be found teaching classes around the country. He has been an instructor of many years for HD Expo and Createasphere in the realms of P2, and the Varicam Cameras, and is currently teaching a Master Class at the UCLA Graduate School of Film and Television in Los Angeles.

 

 

DIT , Data Management and On-set Color Workflows

Jordan Livingston, Independent Filmmaker and Digital Imaging Technician (DIT), DIGILOID

Jordan’s presentation will encompass a broad range of digital filmmaking topics, including defining the difference between DIT and “Media Manager” roles. When does a project need a DIT, or a media manager, or both? The subtleties of different file-based workflows for the leading camera systems including RED, Alexa, Sony, and Canon; as well as popular on-set color, dailies, and transcoding workflows. Livingston will present an overview of these topics while taking questions from the audience and demonstrating the on-set tools he uses.

Jordan Livingston is an independent filmmaker and IATSE Local 600 Digital Imaging Technician serving both the Hollywood and San Francisco Bay Area markets. Livingston is the owner of Bay Area based DIGILOID, specializing in digital imaging and on-set post workflows. Livingston recently served as DIT on HBO’s new dramatic series “Looking,” working alongside cinematographer Reed Morano, A.S.C. Livingston continues to provide DIT, media management, and color grading services for a wide range of projects including feature films, commercials, music videos, corporate, and indies.

 

 

How will 4k migrate from home cinema applications into a true broadcast HD replacement?

Ian Trow, Senior Director Emerging Technology & Strategy, Harmonic, Inc.

Cinematic 4k is setting the expectation amongst viewers as being the next big thing in broadcast.  Sure the extra resolution is appreciated, but what else will be needed to make this a success and how can the introduction of Ultra HD services refresh the appeal of broadcast against the onslaught expected from On Demand services?
Ian Trow has worldwide responsibility for emerging technology and strategy for Harmonic. This currently includes:-

  1. High Efficiency Video Coding
  2. 4K
  3. Targeted Advertising
  4. Software & Cloud Based Solutions

He has over 20 years of systems and design experience in High Definition and MPEG video products.  Ian’s previous roles to Harmonic were at Thomson (Director of Compression Technology) and Envivio (VP of Technology & Marketing).
Ian was at Tandberg Television for 9 years, as Engineering Group Manager working on MPEG-2 broadcast encoders, and later moving to become Segment and Product Manager with responsibility for satellite, terrestrial, and IP delivery of compressed material. Before Tandberg, he was a design engineer at Snell & Wilcox and Sony Broadcast.
Ian obtained a B.Sc in Electronic Engineering from the University of Sussex and is Cisco CCNP & CCDP qualified.

 

Color finishing UHD and 4K

Gary Coates, Colorist

Since 1975, Gary Coates has finished motion picture color in San Francisco’s top film labs, telecine houses, and digital intermediate companies.  He is a committed advocate for Northern California independent narrative, nonfiction, and experimental filmmakers.

 

Pros and Cons of 4K, and Planning

Kenneth Gust, DI Supervisor / Founding Partner at Synaptic VFX (Burbank, CA and New Orleans, LA) — www.synapticvfx.com

Focusing on the pros and cons of 4K for individual users and small to medium sized facilities, addressing colorspace, ACES workflow, compression vs raw, storage and data pipelines, technology needs, software I know and love, displays, calibration, DCP creation and theatrical projection, the importance of planning the end at the beginning, selling the value of post expertise before cameras start recording, managing expectations with 4K in the bay and screening room, and really whatever else folks would like to know.

Ken developed a wide-reaching skillset in his 13 year career as a producer, editor, DI colorist, stereo tech, digital workflow advisor, and post-producer for dozens of film, TV, music video, and webisode projects, including commercials and museum installations.  His company Synaptic is currently the lead VFX facility on Fox’s “Sleepy Hollow” series, with several more series and feature projects on-deck for 2014.