2015 Speakers

Posted on Aug 12, 2015 | Comments Off on 2015 Speakers

Speakers

For the full schedule, click here.

 

 

Jennifer Ahn
Jennifer Ahn is the Managing Director of The Film Foundation (TFF), founded by Martin Scorsese to protect and preserve motion picture history.  Prior to this position, she was Managing Director of the Artists Rights Foundation.  Ms. Ahn has developed and implemented a broad range of programs to expand greater awareness of film preservation, and raised millions of dollars of funding through relationships with individual, corporate and philanthropic partners.  She has designed and produced exhibition programs showcasing TFF-funded titles, and expanded the reach of TFF’s preservation and exhibition projects globally through its World Cinema Project.  To help ensure our film heritage, Ms. Ahn helped create several groundbreaking educational programs, including The Story of Movies, a film literacy curriculum used by nearly 100,000 educators. TFF’s “DIY Preservation Guide,” targeting independent filmmakers, provides recommendations and strategies for preserving digital content.

Eric Aijala
After college and a year stint at the Massachusetts’ regional film library as lead film inspector, Eric worked for 11 years preserving and restoring films at The UCLA Film and Television Archive with his first mentor Bob Gitt.  In 1989, he was asked to join YCM Labs by Pete Comandini and Richard Dayton.  Not wanting to leave UCLA, Eric worked as a freelancer at YCM building years of collaboration and training as color timer, specializing in 3-Strip Technicolor.  He left UCLA in 1998 to accept a fulltime YCM position as Laboratory Superintendent/Head of QC and Timing adding further responsibilities to his color and black-and-white work.

Margaret Bodde
Margaret Bodde is the Executive Director of The Film Foundation, the non-profit organization created by Martin Scorsese in 1990 to protect and preserve motion picture history.  Since 1991, she has led the foundation, building alliances and partnerships resulting in millions of dollars raised and nearly 700 films saved. Recognizing the need to engage young people, Ms. Bodde helped create The Story of Movies, an integrated curriculum teaching film history and appreciation to middle and high school students. In 2014, Ms. Bodde helped launch the foundation’s World Cinema Project, a program dedicated to preserving neglected films from around the globe.

Ms. Bodde is also the award-winning producer of Martin Scorsese’s documentaries: GEORGE HARRISON: LIVING IN THE MATERIAL WORLD (2012), PUBLIC SPEAKING (2010), NO DIRECTION HOME: BOB DYLAN (2005) the PBS series THE BLUES (2003), and most recently THE 50 YEAR ARGUMENT (2014).

Laurence Cook
Laurence Cook is a metadata, data curation and digital workflow consultant based in Portland, Oregon. He is a member of the AMIA Compendium Committee and PBCore sub-committee, the AMWA RFC Workgroup, and SMPTE.  He was a Digital Asset Manager for Oregon Public Broadcasting, with prior workflow analyst experience at Illinois Public Media and the Smithsonian Institution Libraries.  He has a MSLIS from University Illinois at Urbana-Champaign.  Cook is originally from Los Angeles, where he was complex business and intellectual property paralegal serving the major studios with the Century City firm of Leopold, Petrich & Smith.

Barbara Fluekiger
Barbara Flueckiger is a professor for film studies at the University of Zurich since 2007. She worked internationally as a film professional before her studies in film theory and history in Zurich and Berlin. Her research focuses on the interaction between technology and aesthetics, especially in the digital domain. She has published two standard textbooks, “Sound Design” and “Visual Effects,” and many articles in renowned books and peer-reviewed journals. Her research project “Film History Re-mastered” investigated the changing perception of film history in the digital age. In fall 2011 and summer 2012, she was a research fellow at Harvard University, where she explored material and aesthetic aspects of historical film colors. From 2012 to 2014, she collaborated with the Zurich University of the Arts and the Institute of Media Psychology of the University of Berne to analyze the emotional impact of analog vs. digital formats. From May 2013 to October 2015, she has been the project manager of the research project DIASTOR on the digitization of archival film, in collaboration with Disney Research Zurich, the Swiss Federal Institute of Technology in Zurich, and several partners from the industry. In May 2015, she received the top European Research prize, an “Advanced Grant” for her research on film colors.

Alex Forsythe
Alex Forsythe is the Imaging Engineering Manager at the Academy of Motion Picture Arts and Sciences’ Science and Technology Council. For the past nine years, he has served as the Academy Color Encoding System (ACES) technical lead, coordinating the efforts of more than 100 volunteers from the motion picture and television industries, as well as numerous academic institutions, to establish and standardize ACES.  Prior to joining the Academy, Alex worked at Intel Corporation designing digital camera CMOS image sensors and image system processors, and at Eastman Kodak, where he was a color systems engineer in the Imaging Science Division of the research and development labs.  Alex holds Bachelor and Masters degrees in the fields of photographic imaging technology and color science from Rochester Institute of Technology.

Franz Höller
Franz Höller is the managing director of HS-ART Digital Service GmbH and product manager for the DIAMANT-Film Restoration Software. He is working as trainer and consultant in the field of digital film restoration. As project manager he was involved in several international research projects in the digital media area. He has a masters degree in Telematics from the technical university in Graz and has worked as R&D software engineer in the fields of image restoration and processing at Joanneum Research in Austria and Pandora-International in the UK.

Mike Inchalik
Mike Inchalik is an engineer by trade, with degrees in chemical and electrical engineering. At Eastman Kodak in the 1990’s, Mike led the worldwide team that developed and sold the Cineon Digital Film System- the world’s first 4K scanner, 4K laser film recorder, and 4K image processing system.  His team received two Motion Picture Academy’s Sci-Tech Awards for its work on the Cineon Digital Film System and an Emmy for its work on the world’s first high quality HDTV telecine. The workflows and the DPX file format they created are still in broad use today – more than 20 years later.

Mike joined Lowry Digital Images as its president in 2002 through 2012.  Lowry Digital applied its proprietary image restoration technology to a long list of more than 600 classic movies and to numerous first–run, feature-film digital intermediates.

Since his tenure at Lowry Digital, Mike has split his time between two efforts.  He has formed a team that is working on new algorithms and techniques to improve the quality of moving images and he is the CEO of Corbusys, a technology company that has developed and sells affordable, enterprise grade data storage and computing to the archive world, where massive amounts of data need to be handled, quickly and reliably, but often on very tight budgets.

Wojtek Janio
Wojtek Janio is co-founder and CEO of Fixafilm, a multinational restoration and post-production company in Warsaw, Poland. He graduated from the world-famous Polish Film School in Lodz, after which he started his career as a Digital Intermediate and Restoration Supervisor at Poland’s largest TV network, TVP. Later, he worked as a DI Supervisor at Warsaw’s ultramodern post production company, Yakumama Film where he established a restoration department and became its head. In early 2012 he co-founded Fixafilm.   Wojtek has supervised the digital restoration of over 30 feature films (including five from the 1930’s), as well as the remastering of over 900 minutes of documentaries. In addition to restoration work, he also co-produced and supervised four feature films, some of the very first in the world to be shot and completed entirely in 4K and using ACES. Fixafilm has a diverse and international portfolio of clients including BAFTA, the South by Southwest Festival, Filmoteca de la UNAM (Mexico), the Polish Film Archive, the Lithuanian Film Center and all the major Polish film studios. In late 2014 Fixafilm’s work on Andrzej Wajda’s “The Ashes” won a Polish Film Institute Award for “Digital Restoration Of Works Of Polish Cinema.”

Inna Kozlov
Inna Kozlov received a Ph.D. in Mathematics from Technion, Israel. Thereafter, Dr. Kozlov served as a Head of Signal and Image Processing Division at Electro-Optics, Technion, and then as a Head of Computer Science Department at Holon Institute of Technology, Israel. Dr. Kozlov has published numerous articles on the topics of Approximation Theory, Modern Harmonic Analysis, and Algorithms for Signal and Image Processing. In 2005, Inna met a Director of Israel Film Center, who asked her to help a find a solution to making very expensive film restoration processes affordable for all films and documentaries. Soon thereafter, Dr.Kozlov founded Algosoft, a company focused on digital film restoration. At Algosoft, Inna has played a key role in the design and development of digital film restoration technology.

Richard W. Kroon
Richard W. Kroon is the Director of Engineering for the Entertainment Identifier Registry Association and is responsible for the management, operation and growth of the EIDR registry, comprising over 750,000 unique media assets. Richard has a hands-on background in film and television production and extensive experience on the business side of the media and entertainment industry, including senior positions with the Motion Picture Association of America (MPAA), Technicolor, and MovieLabs. In addition to being an award-winning videographer and the author of several media & entertainment industry reference books, Richard is a Certified Project Management Professional (PMP) and PRINCE2 Registered Practitioner. He holds a BS in Computer Science, a technology management MBA, an MA in Media and Communications Psychology, and post-graduate certificates in Film, Television, and Multimedia production.

James Layton
James Layton is a historian and archivist specializing in the history of motion picture technology, in particular the development of color and widescreen in the 1920s and 1930s. Since April 2015 he has been Manager of the Celeste Bartos Film Preservation Center at The Museum of Modern Art. Previous to this, as Assistant Archivist in the Moving Image Department at George Eastman House, Mr. Layton curated the exhibitions Bigger Than Life: CinemaScope at 60 in 2013 and In Glorious Technicolor in 2015. He has previously served as a Cataloger and Workflow Coordinator at the East Anglian Film Archive (EAFA) in Norwich, England. Mr. Layton is a graduate of the Surrey Institute of Art and Design and the L. Jeffrey Selznick School of Film Preservation. He has lectured at the University of East Anglia’s MA in Film Archiving and at the L. Jeffrey Selznick School of Film Preservation. He is co-author of the poster Knowing and Protecting Motion Picture Film (Image Permanence Institute, 2009) and the book The Dawn of Technicolor, 1915-1935 (George Eastman House, 2015).

Heather Linville
Heather Linville has been a Film Preservationist at the Academy Film Archive since 2003. She has supervised the preservation of a variety of projects including silent films, home movies and orphan films, as well as Academy Award nominated and winning features, short subjects and documentaries. She holds a master’s degree in Library and Information Studies from the University of Wisconsin – Madison. In addition, she completed training in Film Preservation at the L. Jeffrey Selznick School of Film Preservation at the George Eastman House. Her work with Mike on THE MEMORY OF JUSTICE is her second project for the Film Foundation. Both Mike and Heather previously co-supervised the restoration of THE LIFE AND DEATH OF COLONEL BLIMP in 2011.

Kristen Merola
Kristen Merola is Project Manager of The Film Foundation (TFF), based out of its Los Angeles office. Before joining TFF in 2013, she was the Assistant Director of the Visual Studies Workshop in Rochester, New York.

Susan Patrick
Susan Patrick was an aspiring writer and filmmaker as a teenager, but gave up this dream to follow traditional academic paths, becoming a librarian. She has recently retired after more than 35 years in academia most recently Ryerson University Library Archives and Special Collections Librarian. This is her third collaboration with Preserving The Past, LLC. Working with Taylor Whitney on the rebirthing of her movies has inspired Susan to take up the megaphone once again, reuniting many of the original cast members forty years later on a new production. Susan Patrick can be reached at susy@falconfilms.ca and www.falconfilms.ca.

Alexander Petukhov
Alexander Petukhov is a Professor of Mathematics, University of Georgia, USA. He received a Ph.D. in Mathematics from Moscow State University and a Doctor Habil in Mathematics from Steklov Mathematical Institute, Russia. Dr. Petukhov has authored numerous publications, including books on the areas of Approximation Theory, Wavelets, Image and Video Compression, Signal Processing, Error Correction Codes, Sparse Representation in Redundant Systems, Compressed Sensing and Low Rank matrix Completion.

Dr. Petukhov joined Algosoft in 2005. He is a “father” of unique film restoration technology and software called Viva. Viva played a crucial role in the restoration of the found Argentinean footage of Metropolis in 2010, and other remarkable masterpieces.

David Pierce
David Pierce is a motion picture archivist and historian. He founded the Media History Digital Library to provide wide public access to print materials in the public domain. He has also been active as a motion picture copyright consultant, produced the theatrical and DVD release of Peter Pan (1924), and prepared major research reports for American archives on expanding access to collections. From 2001 to 2005, he was Head of Preservation and then Curator (chief) of the National Film and Television Archive at the British Film Institute. Mr. Pierce’s numerous articles on film history, distribution, exhibition and ownership have appeared in American Film, Film Comment, American Cinematographer, The Moving Image and Film History.

Michael Pogorzelski
Michael Pogorzelski received his Bachelor’s and Master of Arts degrees in Film Studies (Communication Arts) at the University of Wisconsin – Madison. He began his career at the Academy Film Archive in 1996 and was named Director of the Archive in 2000. He has supervised and co-supervised the restoration and preservation of documentaries, experimental films, animated films as well as five Academy Award Best Picture winners. Most recently, he co-supervised the digital restoration of THE ROBE (1953), Akira Kurosawa’s RASHOMON (1950) and THE LIFE AND DEATH OF COLONEL BLIMP (1943).

John Polito
John Polito has been at the forefront of digital sound restoration since its inception. After graduating in 1987 from Stanford University with honors in Music Composition and Digital Signal Processing, John joined Sonic Solutions and helped define the field by assisting in the development of the first digital audio workstation for sound restoration. In 1991 he started Audio Mechanics, which is one of the premier sound restoration facilities. www.audiomechanics.com

Pawel Smietanka
Pawel Smietanka (born in 1969) is a director of photography and member of Polish Society of Cinematographers www.psc.pl For many  years he was the head of Digital Lab – a 4K digital intermediate laboratory www.dlab.pl He has worked since the year 2000 as a consultant and instructor at the Camerimage Film Festival, focusing on 4K digital intermediate processes. In 2006, he started a program to build a special department for digital restoration of film at the National Film Archive in Warsaw. Since 2008, he has been in charge of the digitalization of the film collection at the National Film Archive in Poland, a project known as NITROFILM www.nitrofilm.pl   He has worked in the field of digital film restoration for over 15 years.

Rhonda Vigeant
Rhonda Vigeant is an author, speaker, radio show host, and home movie consultant. She has spent her professional career, spanning 3 decades, working with home movies and legacy footage. She is the co-owner and Vice President of Marketing at Pro8mm (www.pro8mm.com) in Burbank, California, a company dedicated to the professional use of Super 8 film for both production and archiving for 40 years. Rhonda works one on one with her clients in providing to them professional, broadcast quality digital scans of these treasured films. This work has given her the opportunity to work with the most famous names in the entertainment and music industries, prominent museums and the masses. More than 20 million feet of legacy footage in 8mm, super 8 and 16mm film of the world’s most famous faces, places and events have been transferred by her company.

Jayson Wall
Jayson Wall is currently the Managing Film Archivist for The Walt Disney Studios.  Recently he has overseen the preservation of Alfred Hitchcock’s 1940 Best Picture winner Rebecca and the restoration of the 1955 opening day telecast of Disneyland. Over the past eight years he has supervised a number of 4k digital restorations of Disney classic live-action titles including 20,000 Leagues Under The Sea, Davy Crockett: King Of The Wild Frontier, The Absent-Minded Professor, Pollyanna, Old Yeller, Darby O’ Gill and The Little People and Treasure Island. Jayson is also a member of the studio’s animation restoration team working on feature length animated classics such as Dumbo, Alice In Wonderland, Fantasia and Mary Poppins.  He started his career as an assistant to director/writer/producer Rod Lurie, and then moved to New Line Cinema into the asset management department, overseeing YCM preservation masters for the studio. Since then he has worked at Pro-Tek Media Preservation and Cinetech Film Labs as a senior restoration technician. Jayson is the co-founder of AMIA’s Festival Of The Archives, the co-chair of AMIA’s Industry Mixers in Los Angeles and is currently serving as a Director Of The Board for AMIA.

Taylor Whitney
President and Founder of Preserving The Past, LLC, Taylor Whitney has worked in film production and film preservation for over 23 years. As Sr. Film Inspection Technician she assisted in the film restoration team of Robert Harris and Jim Katz (Lawrence of Arabia, My Fair Lady) on Rear Window, Vertigo, The Man Who Knew Too Much, and The Trouble with Harry, as well as with such collections as The Sammy Davis Jr. Estate, The Mary Pickford Film Library and The Michael Douglas Film Library, as well as with major motion picture studios such as Columbia, Universal, Fox, Paramount, etc. In 1997, Whitney established Preserving The Past, LLC to address a void in the then fast emerging field of film preservation: institutional, university, library, business, household, estates and private organizations. In 2004, Whitney returned to school to add a formal educational component to her years of expertise in film preservation. Accepted into the inaugural class of a unique program that incorporates museum studies with library science focusing on photography, she earned a Master of Arts in Photographic Preservation and Collections Management at Ryerson University in Toronto, Canada in collaboration with George Eastman House, International Museum of Photography and Film in Rochester, New York. AMIA awarded Taylor the 2013 Alan Stark Award honoring achievement in film preservation. Taylor Whitney is Vice President of the Rochester AudioVisual Association, Regional Co-Coordinator of the Upstate NY Chapter of Association of Personal Historians, Co-Chair of the AMIA Preservation Committee, Newsletter Editor for The Photographic Historical Society of Rochester, NY, an active member of George Eastman House and George Eastman House Council, the Association of Moving Image Archivists (AMIA), the Association of Personal Historians (APH), the Society of American Archivists (SAA), Landmark Society of Western New York and The Photographic Historical Society of Rochester, NY (TPHS.) Preserving The Past, LLC has offices in Rochester, NY and Los Angeles, CA with clients worldwide. Taylor Whitney can be reached at taylor@preservethepast.com and  www.preservethepast.com. (Home-Movie-Classics is a division of Preserving The Past, LLC.)