Posted on Aug 19, 2017 | Comments Off on Speakers

Bill Baggelaar

Bill Baggelaar is the Senior Vice-President of Technology for Production and Post-Production at Sony Pictures Entertainment, where he is helping the studio to forge the future in digital film and TV production and post by utilizing next generation workflows, tools and techniques. Currently he is driving HDR and VR production, mastering, distribution and archiving.

He joined Sony in 2011, focusing his efforts on streamlining and advancing 4k workflows from on-set capture to post-production for DI and mastering. He has been instrumental in driving the studio’s transition to the file-based world of IMF (Interoperable Master Format) for UltraHD. Bill led the team at Sony Pictures to help Sony develop the world’s first 4k video service, Sony’s “4K Video Unlimited”. Sony Pictures now has a large collection of titles finished as 4K/UHD IMF, and has a growing number of titles with High Dynamic Range included.

Prior to joining Sony Pictures, he was a Vice President of Technology at Warner Bros. Studios where he worked with the studio and the creative community to bring new technologies to feature animation, TV and film production.

For more than 25 years Bill has been leading technology advancements and introducing new digital tools into production and post-production. He holds a degree in Computer Science, is a SMPTE member and represents the studio in multiple industry technical organizations.

Nicholas Bergh

Nicholas Bergh received his B.A. and M.A. in ethnomusicology from UCLA where he specialized in the history of recording technology and sound archiving. During this time, he was also fortunate to be mentored by engineers who worked in the earliest decades of optical sound, disc, and magnetic technologies.  In 2000, he began his career in sound restoration, doing the re-mastering and digital restoration of numerous feature films for DVD distribution.  It is here where he was confronted with the limitations of the analog work being done for even high-budget projects. In 2003, he started Endpoint Audio Labs in order to focus on improving the quality of film sound transfers before restoration.  Endpoint has become known for both unique transfer technologies as well as using historical research to inform transfer decisions. Nicholas is a member of the AMPAS Sci-Tech Council Historical Sub-committee and is active in conserving motion picture sound artifacts.   To learn more about Nicholas and the unique restoration work at Endpoint Audio Labs, please visit: www.endpointaudio.com.

Robert Byrne

Robert Byrne specializes in the restoration of early and silent era motion pictures, and also serves as President of the Board of Directors for the San Francisco Silent Film Festival.

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 Technical Conference. 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. In 2010 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 State Light 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-sponsored International 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 imaging research 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.”

Miki Fukushima

Miki Fukushima is a digital archive manager at the Paramount Pictures Archive, responsible for setting up guidelines for archival asset delivery and file validation spec. Previously, she had work as a part of asset preservation and mastering teams at deluxe digital media, analyzing and validating the data integrity of client assets such as digital intermediate. Before starting at deluxe, she managed digitization and other file based workflows at smaller post production houses.

Joshua Harris

Joshua Harris serves as Head of Media Preservation in the Preservation Services Department of the University Libraries at the University of Illinois, USA. Josh received degrees in Anthropology, Archaeology and History from Miami University, Ohio in 1998 and has spent over 20 years working in the preservation and conservation of museum, archive and cultural heritage materials. He worked as an Archaeologist for both the Illinois State Museum and the University of Tennessee before joining the Zoology Department of the Smithsonian Institution Museum of Natural History in Washington D.C.

In 2003 Joshua joined the National Geographic Society Film and Audiovisual Archives where he supervised collection management, preservation and the use of archival materials on diverse platforms. Since his appointment at the University of Illinois in 2011, Josh has led the Library’s first formalized media and audiovisual preservation program. Joshua has been involved in media preservation in Southeast Asia for a number of years, and currently serves as Treasurer of the Southeast Asia-Pacific Audiovisual Archive Association (SEAPAVAA).

Mike Inchalik

Mike Inchalik is an engineer by formal education and has spent his career at the intersection of imaging and technology.  At Eastman Kodak in the 1990’s, Mike led the 200-person worldwide team that invented and commercialized the award winning Cineon Digital Film System- the world’s very first 4K film scanner, 4K laser film recorder, and 4K image processing system.  Those fundamental technologies, workflows and the DPX file format the Cineon team created are still in broad use today – more than 25 years later.

In the early 2000’s, Mike was the president and head of operations at Lowry Digital Images, the most prolific digital restoration company of that era.  Lowry Digital restored a long list of more than 600 of Hollywood’s most beloved, classic movies films using a series of revolutionary automated image processing algorithms they invented.

Since his tenure at Lowry Digital, Mike now works as a technology developer and consultant to the restoration and archive community.  His team is working on new algorithms and automation techniques to further improve the quality and reduce the cost of movie restorations and he consults with archives on the planning and execution of digitizing, restoration, and asset management projects.


Wojtek Janio

Wojtek Janio is currently Director of Restoration at MTI Film.   Prior to this, he was 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 Production Manager and Restoration Supervisor working for several studios. In early 2012 he co-founded Fixafilm. Wojtek has supervised the digital restoration of over 35 feature films (including six from the 1930’s), as well as the remastering of over 1100 minutes of documentaries.

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.

Steve Kochak

Steve Kochak is President of Digital Preservation Laboratories, Inc. based in Burbank, California. Starting in feature film visual effects, Steve has previously served as Vice President, Engineering for Ascent Media and Deluxe Media Services. He founded DP Labs to invent new affordable ways to migrate legacy digital imagery and use deterministic algorithms to remove subjectivity from traditional archival verification workflows. In April 2016, DP Labs and Oracle were the first two companies to successfully complete interoperability testing of the AXF standard (SMPTE ST 2034-1:2014). Steve received a Bachelor’s degree from California State University, Northridge, an MBA from Pepperdine University in Malibu and is a member of the Technical Standards Community at SMPTE.

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.

Jeff Lambert

Jeff Lambert has been Executive Director of the National Film Preservation Foundation since September 2014. Prior to that he was the manager of the NFPF grant program; for more than a decade he directed the growth of the nationwide program that has served 284 cultural institutions across all 50 states and preserved thousands of motion pictures that would have been unlikely to survive without public support. In 2003, he worked with The Film Foundation to create the Avant-Garde Masters Grants, the first American grant program to target the preservation of experimental film. Now in its 14th year, the NFPF-TFF collaboration has saved works by more than 60 celebrated film artists, from Kenneth Anger to Andy Warhol. Jeff was the producer behind the award-winning NFPF DVD set Treasures IV: American Avant-Garde Film, 1947-1986.  Jeff has taught at San Francisco State University and served on the board of the San Francisco Cinematheque.

Jim Lindner

Jim Lindner is an internationally respected authority on the preservation and migration of electronic media. Jim pioneered many of the techniques now commonly used for videotape restoration and migration to file workflows. He has lectured widely on and written about media preservation for the past twenty-five years and has served on a variety of international media-associated boards and organizations for many years. While Jim’s first awards were as a film maker, he went on to receive many awards, first for his pioneering work in computer animation and later for his work in media preservation.

Jim received a patent for his invention called SAMMA which is used around the world to preserve video recordings, and has become a Technical Emmy Award winner for the same invention. Jim was the winner of the SMPTE 2015 Archival Technology Medal. The SMPTE award was established in 2012 and recognizes significant technical advancements related to the invention or development of long-term storage technology for the preservation of content essence or archive workflows.  From technological breakthroughs to outstanding research, Lindner’s work has set standards in the field.

A SEAPAVAA fellow, Jim has published many articles and documents in the field, most recently he co-authored with Mick Newnham “Case Studies for AV Preservation” published by the Prestocentre Foundation. Jim has also given back by establishing the Lindner Prize for innovative technology in AV preservation, which is awarded by AMIA, SEAPAVAA and IASA. He is honored by the establishment of The James A. Lindner Digital Archive Fellowship by The HistoryMakers in Chicago.

Most recently Jim has been researching alternative approaches to Digital Film Preservation.

Josef Lindner

Josef Lindner is a graduate of the Communication Arts department of the University of Wisconsin-Madison, where he received his Master’s in Film Studies in 1996. He has worked for the Academy Film Archive since 1998, and became Preservation Officer in 2002. He has supervised the preservation of many short films, including animation by John and Faith Hubley; the Oscar winning documentaries Dylan Thomas (1961) and Lindsey Anderson’s Thursday’s Children (1954); and the 70mm 30 f.p.s. short The Miracle of Todd-AO. From the silent era, he has supervised work on the first film released by the Thanhouser Company, The Actor’s Children (1910), as well as the feature films The Deadlier Sex (1920) and Her Wild Oat (1927). Additional projects include two films by Satyajit Ray, Jean Renoir’s The River (1951), Otto Preminger’s The Man with the Golden Arm (1955), and William Wyler’s The Big Country (1958). Since 2013 he has served on the Executive Committee of the International Federation of Film Archives (FIAF).

Randal Luckow

Randal Luckow is the Director of HBO Archives, located in NYC, NY and Santa Monica, CA. Randal is passionate about leveraging established archival principles to help solve current digital media problems. Previously, Randal has held the role of Managing Archivist at DreamWorks SKG and Digital Archivist at Turner Broadcasting. Randal received a Bachelor’s degree in Film and Tape Production from University Wisconsin, Milwaukee and a Master’s degree in Library and Information Science from University Wisconsin, Madison with an Archive Studies specialization in conjunction with the State of Wisconsin Historical Society.

Simon Lund

Simon Lund, Director of Technical Operations at Cineric for 15 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 film, edited a feature documentary, directed over 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.

Andy Maltz

Andy Maltz is the Managing Director of the Science and Technology Council of the Academy of Motion Picture Arts and Sciences.  In this role, he is responsible for developing and implementing the Academy Science and Technology Council’s operational plan, administering the Council’s day-to-day operations, for individual contributions to selected Council initiatives and for representing the Academy on science and technology issues at industry, government and academic forums. Maltz co-authored The Digital Dilemma and The Digital Dilemma 2, the Academy’s landmark reports on long-term preservation of digital motion pictures, and is the Project Director for the Academy Color Encoding System (ACES).

Previous to the Academy, Maltz was CEO of Avica Technology Corp., where he led the first worldwide commercial deployment of digital cinema servers, drove the development of key technologies for digital cinema, and was heavily involved with the digital releases of major motion pictures in the U.S., Europe, and Asia. Previous to Avica, Maltz served as a consultant to companies such as Sharp Electronics and Microsoft, where he spearheaded the development of the Advanced Authoring Format. Prior, he was executive vice president of operations and engineering for nonlinear editing pioneer Ediflex Digital Systems.

Maltz served on the U. S. National Archives Public Advisory Committee for Electronic Records Archives for 8 years, is an associate member of the American Society of Cinematographers, and is a fellow of the Society of Motion Picture and Television Engineers where he serves on the SMPTE Journal Board of Editors. Maltz is also the incoming chairman of ISO TC36 – Cinematography, which sets international standards for the motion picture industry.

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 and Artificial Neural networks.

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.


Michael Pogorzelski

Michael Pogorzelski is currently the Director of the Academy Film Archive.  He 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).

Peter Schade

Peter Schade is Vice President of Content Management at NBCUniversal.  His department creates the company’s archival and servicing masters in support of worldwide distribution in all markets.  His group is also responsible for re-mastering and long-term preservation of the studio’s entertainment library.   Peter has been with Universal for 18 years.  Prior to that, he ran Technical Services departments for Worldvision Entertainment and Turner Entertainment.

Linda Tadic

Linda Tadic is the Founder and CEO of Digital Bedrock, a managed digital preservation service. She has 30 years’ experience leading preservation, metadata, and digital production operations at organizations such as ARTstor, HBO, and the Media Archives and Peabody Awards Collection at the University of Georgia. Currently an adjunct professor in UCLA’s Media Archival Studies program teaching Digital Asset Management, she was previously an adjunct professor in NYU’s Moving Image Archiving and Preservation program where she taught the Collection Management and Access courses.  Linda consults and lectures on digital asset management, audiovisual and digital preservation, copyright, and metadata. She is co-author of the book “Descriptive Metadata for Television: an End-to-End Introduction” published by Focal Press/Elsevier.  Linda is a former President of the Association of Moving Image Archivists (AMIA), and has been active in the organization since its founding.

Jayson Wall

For the past 20 years, Jayson Wall has been working in film preservation and restoration in various capacities throughout the industry. Jayson is the Managing Film Archivist for a major studio in Los Angeles, where for the past 10 years, he has overseen a number of large preservations and restorations of classic Hollywood features.

Wall is a member of the Board of Directors for the Association of Moving Image Archivists (AMIA). He is also a syndicated radio show host of mid-century Space Age Pop/Exotica music and is now hosting INTO THE ARCHIVES, a series spotlighting conversations with leading Archivists and Preservationists.

Jayson has lectured on film and television preservation as well as music in film, focusing on Scopitones, Soundies and Snader Telescriptions.

Sean Vilbert

Sean Vilbert is Executive Director Digital Archives for Paramount Pictures. In a newly formed role, Sean is responsible for setting digital archive policy and implementing strategic long term solutions which support digital preservation and distribution workflows.

Previously, Sean worked as a consultant for Strategic Vision Consulting with focus on Digital Asset Management and prior to SVC worked for 10 years within Accenture’s Financial Services consulting practice as a systems engineer focused on custom development, packaged software selection and systems implementation projects.