2014 Speaker Bios

Posted on Aug 13, 2014 | Comments Off on 2014 Speaker Bios

Robert Bader
Robert S. Bader is a writer, editor, and producer, as well as the Vice President of HLC Properties, Ltd. and Bing Crosby Enterprises, where he is currently at work on a series of releases comprised of material from Bing Crosby’s vast film and tape archive.  He serves as the curator of the Bing Crosby Archive, and produced the PBS special, The Legendary Bing Crosby. Bader is also the archivist and licensing director for Daphne Productions and The Dick Cavett Show, and recently produced the acclaimed special, Dick Cavett’s Watergate for PBS. Bader also works with the estates of Danny Kaye, Rosemary Clooney, Jackie Gleason, and the Marx Brothers.

Bill Baggelaar
Bill Baggelaar is the Senior Vice-President of Technology for Colorworks and Post Production Services at Sony Pictures, where he manages the technology teams for picture and sound finishing. He joined the company in 2011, focusing his efforts on streamlining 4k and 2k workflows from on-set capture to post-production for DI and mastering. He has been instrumental in driving the transition from tape-based video to the file-based world of IMF (Interoperable Master Format) for UltraHD and HD. Bill has led the team at Sony Pictures to help Sony Electronics develop the world’s first 4k video service, Sony’s 4K Video Unlimited. Sony Pictures now has over 200 titles (and counting) finished as UHD IMFs. Previously he worked at Warner Bros. Studios for 13 years in feature animation, vfx, DI and video mastering. He holds a BS in Computer Science, is a SMPTE member and represents the studio in various industry technical organizations


Seth Berkowitz

Seth Berkowitz has spent the last ten years as the Supervisor of Digital Restoration at Cineric in New York City, and is a long-suffering Mets fan.


Rune Bjerkestrand

Rune Bjerkestrand is an Engineer of Cybernetics and has a Bachelor of Business Administration and a Master of Management from the Norwegian School of Management. He has held senior management positions in both Norwegian based and global companies within a wide range of sophisticated technologies and applications. Rune is one of the founders of Piql AS (formerly Cinevation AS), where he holds the position of Managing Director.


Bjørn H. Brudeli

Bjørn H. Brudeli is an B.Eng of Data/Telecommunication and B.Eng in Media Technic. He has been working in the moving picture industry for more than 15 years, mostly as a CTO in both Norwegian and European companies. He has been with Piql since 2013, where he holds the position of Product Manager for Piql Preservation Services.”

Sean Coughlin
Cinetech Founder and Deluxe Senior Vice President, Post and Restoration Services.  Cinetech, a unit of Deluxe, was founded in 1990 and achieved worldwide industry recognition as a leader in innovative, technologically advanced film preservation and restoration.

Cinetech Founder Sean Coughlin now serves Deluxe as Senior Vice President in charge of film and digital restoration and preservation solutions. During his early years in the industry, he worked on the preservation of such silent film classics as “Birth of a Nation,” “Napoleon” and “Intolerance.”

Cinetech led efforts to restore and preserve films from major Hollywood studios and independent production companies including 20th Century Fox, Sony Pictures Entertainment, Walt Disney Studios, Warner Bros., Universal, Paramount Pictures, MGM, Miramax, New Line Cinema and Revolution Studios. Cinetech also handled technical film projects for the Library of Congress, the British Film Institute, Eastman House, the Frank Capra Collection, the UCLA Film & Television Archive, the Film Foundation, and the Museum of Modern Art.

Stefan Demetrescu
Dr. Stefan Demetrescu has worked in the image processing and computer graphics fields for over 35 years. He got his BS and MS in Applied Physics and Computer Science from Caltech, and his Ph.D. in Computer Systems Architecture from Stanford University, where he developed a novel VLSI chip architecture for real-time computer graphics. He co-founded Lasergraphics Inc. in 1981 and is currently CEO.


Eric Dosch

During his 30+ years in post production, Eric Dosch has worked in virtually every aspect of the industry and for a wide variety of companies ranging from the majors to various independent facilities as either staff or in a free-lance capacity. These include Warner Brothers, Universal Studios, Sony, Paramount, MGM, Sound Chamber Mastering, Post Haste Sound, Chace Productions, Monterey Post, and The Record Plant. Known as an authority on audio post production and mastering, Eric has completed the audio restoration, re-mixing, and re-mastering on over 2000 film and television titles in multiple languages, for a total of over 10,000 soundtracks, as well as thousands of song titles.

As designer and lead mixer of the DVD Audio Mastering facility at Warner Hollywood, the first one of its kind in the world, Eric participated in the DVD Forum to develop the original standards for the DVD format. He edited and mastered the audio portions of the first DVD-V’s ever made in 1994. A small selection of projects Eric has worked on include: The Matrix, Blade Runner, The entire Stanly Kubrick films catalog including 2001; A Space Odyssey, Jeremiah Johnson, The Wizard of OZ, several of the James Bond Series including The Man With the Golden Gun – SE and On Her Majesty’s Secret Service – SE, The Party – SE, The Magnificent Seven, Fargo – SE, The Good, the Bad and the Ugly, a number of The Pink Panther – SE re-releases, Man of La Mancha, several David Lean films including Lawrence of Arabia, Doctor Zhivago and Passage to India, and the concert documentary of The Rolling Stones; Bridges to Babylon.

Recently Eric completed the audio restoration and 7.1 surround mix of the original mono Texas Chain Saw Massacre for theatrical release, and is currently in the process of re-mastering approximately 100 songs titles from the Bing Crosby library, including the soundtrack album from the upcoming American Masters Bing Crosby Biography. This historical documentary also included recovery and restoration of a large number of Dictabelt recordings done personally by Bing over a span of multiple decades. Eric’s professional memberships include a voting member of the Academy of Motion Picture Arts and Sciences where he has served on the Academy Theatre Standards Committee.


Jonathan Erland

Born in England in 1939, Jonathan Erland commenced his professional training in the entertainment industry in 1954, studying theatre at the Central School (where fellow students included Vanessa Redgrave and Judi Dench) and film at the London Film School where he received his visual effects “baptism by fire” on the student film, Brief Armistice, an anti-war, battlefield film set in World War II. After additional studies at the Goodman Theatre in Chicago, he began work with the Canadian Broadcasting Corporation during the heyday of live television drama, including such classics as Julius Caesar.

His knowledge of theatre technology made him a desirable asset to the team building the Charles Eames-designed audio animatronic puppet theatres for the I.B.M. Pavillion at the 1964 New York World’s Fair. Moving to Los Angeles, he maintained dual careers in both the entertainment and industrial and exhibit design fields. His eclectic backgrounds merged harmoniously when his industrial design knowledge made him a desirable asset for Industrial Light and Magic, the group formed by John Dykstra, A.S.C., to create the visual effects for the 1977 film, Star Wars. He continued his association with Dykstra, serving as Director of Research and development for Apogee Productions. At Apogee, he received patents and Academy Awards for Reverse Bluescreen, the Blue-Max flux projector and a method for making front projection screens.

The author of some twenty Society of Motion Picture and Television Engineering (SMPTE) papers, he has received the Society’s Journal Award and the Fuji Gold Medal. In 1993, he served as program chair for the SMPTE TechnicalConference. He is a Life Fellow of the Society, an Associate of the American Society of Cinematographers (since 1986 the A.S.C. Manual has carried an Erland tutorial: “The Future of Traveling Matte Photography.”, and he was a founder of the Technology Council of the Motion Picture and Television Industries. He was also a founder of the Visual Effects Society, for whom he has served as a Director, and, for seven years as Membership Chair. He serves currently on the Technology Committee. In 2006, the VES awarded him their inaugural Founders Award. In2010 he, along with Douglas Trumbull and Dennis Muren, became the first Fellows of the VES.

In 1984 Erland was invited to join the Academy of Motion Picture Arts and Sciences and in 1995, as Chairman of the Visual Effects Award Steering Committee, he achieved the long sought goal of establishing Visual Effects as a Branch of the Academy. He has served eleven years on the Board of Governors of the Academy, twenty-five years on the Executive Committee of the Visual Effects Branch and the Scientific and Engineering Awards Committee. He serves also on the Student Academy Awards Committee and the Foreign Films Committee. He’s a founding member of the Academy Museum of Motion Pictures Committee, as well as the Academy Science and Technology Council, where he serves on the Executive Committee and chairs the Research Committee and the Solid StateLight subcommittee.`

For the Council he has appeared in a number of public programs such as,“Movie Magic”, where he presented the pre-cinema segment, “Minwa -Za Company of Tokyo” a program on Japanese shadow puppetry, “Illuminating the Future: the Arrival of Solid State Lighting” from which his presentation of “The Science of Colour” can be seen on the Academy website. In 2011, at NAB and also CineGear he presented, “Chromatic Chaos: Implications of Newly Introduced Forms of Stagelight.” a study of solid state lighting, which was also presented for the ASC-sponsoredInternational Cinematographers Symposium, Chaired by President Michael Goi, ASC. The Council, located at the Academy’s Pickford Centre for Motion Picture Studies, is also home to the “Esmeralda Stage” an imagingresearch laboratory Erland has been building for the past twenty-five years.

In 1993, he and his wife Kay, founded Composite Components Company, which specializes in traveling matte composite technology, and in 1996 the Academy awarded them a Scientific and Engineering Award for the Digital series of traveling matte backings. In 2008 he received an Academy Award of Commendation for “his leadership efforts (in 1992) toward identifying and solving the problem of High-Speed Emulsion Stress Syndrome in motion picture film stock.” In 2012 he was honored with the John A. Bonner Medal of Commendation, which recognizes, “outstanding service and dedication in upholding the high standards of the Academy.” Somehow or other, along the way, he managed to father two children and is the proud grandpa of two. Needless to say, he has no time for hobbies.


Allan Falk

Allan Falk, Post Haste’s co-owner and president, has been an innovative leader in the industry since 1985. Prior to opening Post Haste’s doors in 2003, he was general manager at a prestigious post production facility in Burbank. Allan advocates the ‘old-school’ method towards client support, approaching customer service in a very hands-on manner, overseeing every aspect of a project from inception and following through to its successful completion. Allan holds a degree in Economics from State University of New York at Albany and is a proud member of AMIA and the Cinema Audio Society.


Bruno George

Bruno George is the Director of Product Development at Capture, Restore and Save, LLC, a company formed for the development and implementation of video preservation technology. Bruno has been involved in various aspects of motion picture production and post production for over 40 years. From 2004 until 2009 he was Manager of Pacific Title and Art Studio’s Rosetta Digital YCM process.  During that time he managed a specialized team that produced over 170 YCM archives for Digitally Mastered motion pictures of uncompromising quality.    He is a member of the Academy of Motion Picture Arts and Sciences’ Visual Effects Branch, the Academy’s Science and Technology Council Solid State Lighting Sub-Committee, and a member IATSE Local 600 as a Director of Photography.


Robert Heiber
Bob Heiber has been involved in film sound preservation since 1990 when he joined Chace Productions. Chace Audio joined the Deluxe family of companies on July 1st of 2009, and Bob is the Vice President of Audio for the Division. Bob has been a member of AMIA since 1991, and is also a member of SMPTE, the Academy of Motion Pictures Arts and Sciences and ACVL.  Bob has served on the National Film Preservation Board Advisory Task Force, the Library of Congress panel for the State of American Television and Video Preservation and is currently chairing the Education, Training and Research Committee for the National Recording Preservation Board.  He has spoken on film sound preservation, restoration and re-mastering at AMIA, ACVL, SMPTE and ARSC conferences.  Prior to joining Chace, Bob was the Manager of Technical Operations at Warner Hollywood Studios and an award winning documentary/industrial filmmaker in Chicago, Illinois.  Bob graduated from Purdue University in 1973 with a Bachelor of Arts in Radio-TV-Film.


Alex Hernandez

As head of the film imaging dept. at Colorworks, a Sony Pictures facility involved in the production of 4k D.I. features and mastering, Alex over sees the day-to-day operations and the making of digital separations, color master intermediates and scanning.  After attending California State University, Northridge, as a radio, television and film production major, he began working for television in the mid 90’s as an audio/video operator, camera assist and ENG sound mixer.  In 1997 he began his film post production experience at Pacific Title and Arts Studios as a film scanning and recording operator.  At the start of 2002, Technique (later Technicolor), under the stewardship of Chris Kutcka and Joshua Pines, is where he got involved with the D.I. process, a brand new process at the time.  By the summer of 2009 he had helped Technicolor expand its international D.I. services by installing, and training personnel to run, Technicolor’s recording and scanning system.  Later that year, he began work with a new startup endeavor, Colorworks.


Jim Houston

Jim Houston is a consultant on digital production and new technologies, and has worked at Sony Pictures, Disney, Mainframe Entertainment, Postworks, NASA/Ames, and others. He is a member of the Academy’s Science and Technology Council and Science and Technical Awards committee and has received two Academy Science and Engineering Awards. He is co-chair of the ACES Project Committee.


Andrea Kalas

Andrea is currently Vice President of Archives at Paramount Pictures where she has overseen the development of a digital archive and the preservation of over 400 films.  She has worked as an archivist at the British Film Institute, Discovery Communications, Dreamworks and the UCLA Film and Television Archive. She holds a Masters from UCLA in film history, has been President of the Association of Moving Image Archives and edited the European Metadata Standard for Cinematographic Works.


Lee Kline

For almost 20 years Lee Kline has presided over the technical group at The Criterion Collection, based in New York City.  Moving from analog to digital, Lee has re-mastered hundreds of world cinema classics and oversees a full restoration staff in the Criterion New York post facility.  Although Criterion has licensed films from all over the world for distribution on DVD and Blu-ray Disc, and sister company Janus’s Films theatrical releases, Lee has approached each project both as a preservation and a restoration for future generations to enjoy.

Traveling the globe to locate the best available film elements, and closely working with filmmakers, Lee ensures the smooth transition from the cinema to the various home video screens in existence today – speaking out for the need to preserve film grain or to be careful about removing dirt, debris and other abnormalities if it’s non-destructive to the end result of the picture or soundtrack.  When a filmmaker is not alive to represent their work, Lee and the other members of his team at Criterion are always trying to stay true to the original release of the film.  Color, framing, editing, and major film components are hopefully presented in the same way these filmmakers would present their work today using digital technology to enhance the film.


Paul Korver

As Founder and CEO of Cinelicious Paul provides creative direction, technical innovation, and develops strategic partnerships in the motion picture and film preservation communities to further the goals of building a cutting-edge post production studio that invests in and respects the craft and tradition of celluloid film, while leveraging the all the benefits that the digital present has to offer.

  In 2010, after completing a year-long evaluation of the world’s leading film scanning technologies, Paul has become an expert in the high-resolution film scanning of both archival film materials as well as tapeless workflows for new films, which resulted in Cinelicious’ acquisition of the Scanity 4K film scanner for 16mm and 35mm, and the Lasergraphics Scanstation for 8mm, Super 8mm and 9.5mm films. As a result, Korver has been involved with technically challenging film-based projects for Directors such as Stephen Spielberg, Christopher Nolan, Andrew Stanton, and Richard Linklater, Studios Paramount, Pixar, Sony, and Bad Robot, and film libraries of The Academy, UCLA Film & Television Archive, Harvard Film Archive, MOMA, and The Criterion Collection.  As a post-production and imaging consultant, Paul had lent his expertise to famed re-toucher Pascal Dangin of Box Studios, David Packard of the Packard Humanities Institute, and the countries of Qatar and the United Arab Emirates.

  Paul also sits on the board of the AICP where he authored the first ever Digital Asset Management Survey of the Commercial Industry, and is a proponent and voice for preservation in the ephemeral world of TV commercial production.


Simon Lund

Simon Lund, Director of Technical Operations at Cineric for 13 years, is a graduate of the Chicago Art Institute.  In addition to five years of experience at the Filmoteca Española and Cinemateca Portuguesa, he has directed a feature documentary, edited a feature documentary, directed over half a dozen short narrative and documentary films, started a video art preservation company, and remained active as a photographer.  He is presently focused on digital technology development at Cineric.


Michael Mortilla

Michael Mortilla’s scores appear on the soon to be released Treasures 5 DVD set from National Film Preservation Foundation. He recently scored and edited sound for Fragments for Turner Classic Movies and scored The Rink for the world’s first internet broadcast of a feature film with sound (AFI-1997). The Academy of Motion Picture Arts & Sciences has frequently employed Michael’s composing and performing skills over the last decade, including original ensemble scores for 7th Heaven, The Gaucho, Humoresque, and Upstream, as well as AMPAS promotional and educational videos. The Chicago Symphony Orchestra commissioned several original scores with Michael as piano soloist in his own work, with similar orchestral performances and commissions from the Olympic Games Arts Festival, The Harvard Pops Orchestra, The Greensboro Symphony, the National Archives, and the Library of Congress.

Largely self-taught, Michael served as company pianist and collaborator for Martha Graham and as a member of the faculty at UC Santa Barbara for well over a decade. To date, he has composed nearly one-thousand original, produced scores and sound designs for theater, dance, film, TV, radio, and the concert hall. Michael can be found at MIDI Life Crisis (.com).


Craig Nichols

Craig has been working in the Los Angeles Post and Film community since 1980, at Deluxe, Editel, AME, Todd AO, Ascent Media, Thomson Grass Valley and currently with Digital Film Technology.   Since 2003, his areas of focus have been film scanning, IT systems, audio and video restoration, and file based workflows. In his present position he supports Spirit 4k and Scanity Scanners and continues to work closely with development to address customer concerns, issues, ideas, and product improvements.


Andrew Oran

Andrew Oran is currently the Vice President of Sales and Operations, Specialty Film, at Fotokem. Andrew joined FotoKem in 2004 to lead their Specialty Film Division, encompassing 65 and 70mm processing, printing, hi-rez scanning, HD telecine, and related 3D finishing services. The division’s activities range from IMAX format film production to Hollywood feature large format work to hi-end film restoration. He is at present helping craft digital specifications for giant screen exhibition. He has worked almost exclusively on 65mm film projects since 1994.
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.


Davide Pozzi

Davide Pozzi has been working at Cineteca di Bologna since 2001, and in 2006 he became the director of L’Immagine Ritrovata film restoration laboratory. Under his management, the laboratory has established itself as one of the most highly specialized facilities in the field of film restoration worldwide. Its clientele now spans from USA, to Europe and Asia, and most films restored by the laboratory are premiered in major film festivals all around the world. It hosted 5 editions of the FIAF Film Restoration Summer School (the next one will be held in 2014), and is taking part in the organization of a shorter six-days school in Singapore for November 2013.  In 2013, the laboratory received the prestigious Focal International Award as Preservation Film Laboratory of the Year, for its exceptional work in film restoration, in both qualitative and quantitative terms, in 2012 and recent years.


Chris Reynolds

Chris Reynolds is Director of Audio Services at Deluxe Media / Chace Audio, where he has been employed for the past 13 years. In addition to supervising the 30+ production engineers, Chris is responsible for developing new workflows, researching and developing new technologies, studio design and system upgrades. A graduate of Full Sail University, Chris is an active member of SMPTE and AES. His audio skills span the full range of film sound production from sound transfer and optical recording to sound editor, sound supervisor, and re-recording mixer. In addition to mixing current theatrical feature films, he has re-mastered and up-mixed West Side Story, Dances With Wolves, and From Russia With Love.

Peter Schade
Peter Schade is Vice President of Content Management at NBCUniversal.  His department creates the company’s archival and servicing masters for feature and TV content in support of worldwide distribution in all markets.  His group is also responsible for long-term preservation of the studio’s entertainment library.   Peter has been with Universal for 15 years.  Prior to that, he ran Technical Services departments for Worldvision Entertainment and Turner Entertainment.


Chris Zembower

Combining 15 years of experience in audio production and restoration, computer science and media production, Chris is the Director of Engineering at Criterion.  In this role, he works on systems research, integration and administration, workflow design, automation and optimization, asset management and archiving, as well as strategy for both original content post-production and feature sound/picture restoration.

Since taking the position five years ago, Chris has orchestrated the transition from tape to a state-of-the-art, fully customized storage system and workflow at Criterion, supporting quality control technicians, audio engineers, content producers, editors, colorists, and a team of restoration artists delivering digital content for disc, streaming, broadcast, and theatrical outlets. Most recently, Chris designed and completed an overhaul of Criterion’s infrastructure to support an end-to-end 4K restoration workflow, from scan to DCP.