2013 Speakers

Posted on Aug 14, 2013 | Comments Off on 2013 Speakers

TRT Speakers


Thursday .  August 22, 2012


Michael Wilder
Michael is Senior Engineer at Image Trends, Inc.   Prior to joining the company, Mr. Wilder was the senior customer relations engineer and team leader bringing over 25 years of experiences to Image Trends.  While at ASF and Kodak he was responsible for algorithm development, noise reduction technologies, frame segmentation and registration methods. He spent 18 years with Raytheon and Texas instruments in advanced electro-optical systems including target tracking and guidance systems for airborne, sea and land applications.  Mr. Wilder was a Member of Technical Staff at Raytheon and is a Professional Engineer with IEEE.  Mr. Wilder holds a BS in Electrical Engineering from the University of Minnesota an MS in Electrical Engineering from Southern Methodist University and an MS in Computer Science from the National Technical University.

Mike is the lead on the creation of the Cinerama restoration project and invented the method to recreate the composite images automatically and correct the many problems associated with these badly decayed films. He is also the lead developer for the Black ICE film restoration system which can identify and correct surface defects automatically on B&W film.  His superb programming skills are matched by outstanding systems analysis engineering capabilities.

_____________________________

Dan Rosen

Daniel Rosen is the CTO of Group 47. Mr. Rosen has enjoyed a career of recognized technical depth and responsibilities in both the defense and entertainment industries including key positions with TRW, DreamWorks SKG, Eastman Kodak, and Warner Bros. His experience has included positions as Chief Engineer at DreamWorks, Vice President of Technology at Warner Brothers, and his present positions of Chief Technology Officer at Group 47 and Director, Imaging Technology for GumGum, Inc.

A technology innovator who has developed patented solutions to “unsolvable problems” throughout his career, and an acknowledged expert on using digital technologies for film production, restoration and preservation, Mr. Rosen has served as a technology consultant to the Library of Congress, the Library & Archives of Canada and the Academy of Motion Picture Arts and Sciences. Mr. Rosen has participated in the restoration of such classics as “The Wizard of Oz”, “Gone With the Wind”, the “Godfather Trilogy” and many others, and has participated in the production and post-production of many recent feature films.

_____________________________

Rob Hummel

Rob Hummel is the President of Group 47.  Formed to acquire and develop the technology behind DOTS; the advanced digital archival storage media originally developed by Eastman Kodak.

Rob’s passion for DOTS began in 1995 while he was working for DreamWorks.  It was then that he was approached by the Eastman Kodak Company to take a look at their new archival media.  Since that time, Rob has taken the lead to form a company to purchase the DOTS patents from Kodak.  As President, Rob has brought together a world-class team, responsible for securing and expanding upon the relevant patent portfolio and take the steps to bring DOTS to market.

Previously, Rob was President of Legend3D, a company that provides 2D to 3D conversion services for major motion pictures and television.  He was the chief liaison between Legend and film studios, using innovative solutions to enable studios to convert movies into 3D efficiently and economically.  Rob also was the CEO for another 2D to 3D conversion company, Prime Focus.

At DALSA Corporation, Rob was President of Digital Cinema, chartered with gaining acceptance of DALSA’s pioneering 4K Camera in the motion picture industry.

Before joining DALSA, Rob was Vice President, Production Technology, at Warner Bros.  Among his responsibilities was overseeing the award-winning restorations of “Gone With The Wind” and “The Wizard of OZ.”.  Rob also advised Warner Bros. production departments on Digital Capture and Digital Post Production technologies.

Prior to Warner Bros., Rob was Senior Vice President, Digital Cinema, for SONY Corporation of America. As part of the 21st Century Studio Project, Rob analyzed the operations of SONY Pictures in areas of digital mastering, archiving, storage and protection of their vast library of film elements.

Rob previously served as Executive Vice President, Digital Development, for Technicolor.  He led Technicolor’s emergence as a leader in Digital Cinema, and the establishment of some of the first Digital Cinemas across the globe.

Before Technicolor, Rob oversaw DreamWorks international post production, film archiving, video mastering, theater operations, special projects, and was Head of Technology for the then planned Playa Vista studio project.  As Head of Animation Technology, Rob oversaw building of the technological infrastructure for DreamWorks’ feature animation studio.  Prior to DreamWorks, Rob held various positions at Walt Disney in TV Animation, Feature Post Production, Line Producer, and Production Operations for the Theme Park Productions unit of Disney Imagineering.

Rob began his career in radio, but soon transitioned into the film industry.  He started as Director of Production Services for the professional film division at Technicolor Labs, and also worked at Douglas Trumbull’s visual effects company, during “Blade Runner.”  In addition, Rob was Post Production Supervisor on “TRON.”

Originally from Amityville, New York, Rob received his BA in Business from Principia College in Elsah, Illinois.  Currently he is a member of the Academy of Motion Picture Arts and Sciences, where he has served as Chair of the Science and Technology Council’s Public Programs and Education Committee.  He has hosted many seminars on motion picture technology at venues ranging from the Academy to PIXAR Studios to London’s National Film Theatre.  An associate member of the American Society of Cinematographers, he edited the 8th edition of the ASC Manual, and wrote several chapters. Rob has taught classes at the University of Southern California and the University of California, Los Angeles and is also an Honorary Visiting Professor at the Kanazawa Institute of Technology in Kanazawa, Japan.

_____________________________

Ralph Sargent
Ralph Sargent has been involved in preservation for over 40 years, first teaching at UCLA in the 1960’s.  He formed Film Technology Company in 1971, a film laboratory specializing in preservation and restoration of film, but also including video and audio.  Their clients include all the studios, UCLA film and television archive, MoMA and other archives.  Ralph is also the author of “Preserving the Moving Image”, published in 1974.

_____________________________

Schawn Belston
Schawn is Senior Vice President, Library and Technical Services at Twentieth Century Fox. Schawn began his career in feature post production. In 1997, he started the Film Preservation program at Fox. This program has expanded in commitment and scope over the years, and currently includes the management of all film and television assets, photographs, posters, and props owned by Fox Filmed Entertainment. Additionally, his team oversees all digital mastering and restoration for Fox Home Entertainment, including DVD and Blu-ray.

_____________________________

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).

_____________________________

Barbara Flueckiger
Barbara is a professor for film studies at the University of Zurich since 2007. She has been working 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 published two standard text books “Sound Design” and “Visual Effects” and many articles in renowned books and peer-reviewed journals. Her current research project “Film History Re-mastered” investigates 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. Since 2012 she collaborates with the Zurich University of the Arts and the Institute of Media Psychology of the University of Berne to analyse the emotional impact of analog vs. digital formats. Most recently she received a grant from the Swiss government’s Commission for Technology and Innovation CTI for the huge 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.

_____________________________

Jayson Wall
Jayson Wall is currently Manager of Library Mastering for The Walt Disney Company.  Over the past 6 years he has been involved on numerous re-mastering projects for the studio and has supervised 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,  The Love Bug,  Old Yeller and Treasure Island. Jayson is also a member of the studio’s animation restoration team responsible for preserving feature length animated classics including Dumbo, Alice In Wonderland, Fantasia and the up-coming 50th anniversary restoration of 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 co-founded AMIA’s Festival Of The Archives and served as a Director Of The Board for the Association Of Moving Image Archivists (AMIA) between 2010 – 2012.

_____________________________

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

_____________________________

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.

 

Friday .  August 23, 2012

Theodore Gluck
Theo is Director of Library Restoration and Preservation and a 23 year veteran with The Walt Disney Studios. He received his Masters Degree in Film Studies from Boston University in 1984, and was the teaching assistant for noted film scholar Roger Manvell. He was an active member of the New York City Projectionist’s local for seven years, working at Todd-AO Studios as well as the American Museum of the Moving Image, and during that time was also a consultant for both the LucasFilm TAP Program, and Dolby Labs. During his tenure at Disney, Theo has served as the Director of Foreign Post Production for Disney Character Voices International, and was also the Manager of Film Operations for Buena Vista Pictures Distribution. He has been involved in numerous projects ranging from Super 8 through 3D IMAX printing strategies. He served as the Technical Coordinator for the 70mm premiere of The Lion King at Radio City Music Hall, and helped mount the outdoor German premiere of Pocahontas at the Olympic Park in Munich. He has been stewarding the Studio’s Restoration Project since 2004 with the release of BAMBI on DVD, and coordinated the scanning and preservation of the Studio’s nitrate negatives. Theo is presently a member of SMPTE, BKSTS, AMIA, and the AMPAS Science & Technology Council’s Public Programs and Education Subcommittee

_____________________________

Thomas Bakels
Thomas is the founder of ALPHA-OMEGA digital in Munich, Germany, a Post Production facility involved in high quality mastering and specializing in film restoration. In his career that started in the early 1980s he went from audio-engineering and video engineering to head of production in Broadcasting. In the 1990s he became involved with film transfers in a Munich post-house and found film to be the road to stay on. In 1998 he founded Alpha-Omega as a specialized Post-House for high quality film transfer. In 2000 after several challenging works with nitrate films dating back to 1896, he was in charge of the first digital restoration of METROPOLIS, later handled 2K-Scanning of John Fords BUCKING BROADWAY from nitrate, as well as numerous high-resolution restoration projects of France, Norway, Vietnam, Thailand and the USA. With a long list of digital re-mastering jobs of films between 1930 to 1990 he was again asked to work on the restoration of the found Argentinean footage for METROPOLIS, mastering the completed work in 2K.

_____________________________

Ellis Burman
Ellis Burman has been at the forefront of digital audio workstations for over 20 years, first working with the Fairlight CMI in the mid 80′s. He was an early adopter of the Sonic Solutions No-Noise® workstation and has restored hundreds of feature films and television shows for Sony, Disney, Fox, and Paramount. He currently works at Audio Mechanics in Burbank California where he a restoration/preservation engineer.

_____________________________

Steve Kochak
Steve Kochak is Vice President of Engineering for Deluxe Media based out of Burbank, California.  Over the past 7 years, he has been developing digital archival quality control processes and migration strategies for studios.  Over 400 feature films and thousands of hours of OCF that have underwent the Digital Intermediate process have been digitally preserved and migrated using this technology.  Steve received his Bachelor’s degree from California State University, Northridge, performed graduate work at the University of Oxford and received an MBA from Pepperdine University in Malibu, California.

_____________________________

Ross Lipman
Ross Lipman is a Senior Film Preservationist at the UCLA Film & Television Archive, where his many restorations include Charles Burnett’s Killer of Sheep, Kent Mackenzie’s The Exiles, the Academy Award-winning documentary The Times of Harvey Milk, and works by Charlie Chaplin, Orson Welles, Shirley Clarke, Kenneth Anger, and John Cassavetes.  He was a 2008 recipient of Anthology Film Archive’s Preservation Honors, and is a three-time winner of the National Society of Film Critics’ Heritage Award.  His essays on film history, technology, and aesthetics have been published in numerous books and journals.  Lipman is also an independent filmmaker whose works have screened internationally and been collected by museums and institutions including the Oberhausen Kurzfilm Archive, Budapest’s Balazs Bela Studios, and Munich’s Sammlung Goetz.

_____________________________

Larry Blake
Larry Blake, supervising sound editor / re-recording mixer / post-production supervisor: Behind the CandelabraCheMagic MikeTrafficOcean’s Eleven; owner, Swelltone Labs, New Orleans; film sound editor, Mix magazine.

_____________________________

Curtis Clark, ASC
Curtis Clark, ASC studied theater at the Art Institute of Chicago’s Goodman School of Drama and cinematography at the London Film School. After graduation, he began his career by shooting numerous documentary films in Britain before transitioning to shooting feature films.

Clark’s feature film credits include such critically acclaimed narrative films as The Draughtsman’s Contract; Dominick and Eugene; Alamo Bay; Extremities and Triumph of the Spirit.  He started shooting television commercials in the early 90s, which put him on the forefront of the digital/film frontier.  He has continued adding to his hundreds of commercial credits working with cutting-edge directors and ad agencies.  Following on the success of his short film, The Arrival, Clark recently completed his highly praised short film Eldorado which he directed and photographed using Sony’s innovative F65 4K digital motion picture camera.

Clark is a member of the American Society of Cinematographers and its Board of Governors, as well as chairman of the ASC Technology Committee, an important motion picture industry forum that both investigates and influences the development of emerging digital technologies that impact filmmaking practice.  Since its inception in 2003, The ASC Technology Committee under Clark’s leadership has achieved a series of notable successes including its collaborative work with Digital Cinema Initiatives, LLC (DCI) to produce standardized evaluation material for assessing the performance of digital projectors and other elements of DCI standards-based digital cinema systems.

Amongst its multiple initiatives, the ASC Technology Committee, at Clark’s instigation, embarked on the development of a groundbreaking project to create cross platform data exchange for primary RGB digital color correction referred to as the ASC CDL (Color Decision List).  Broad based Industry acceptance and implementation of the ASC CDL is now well advanced and has been recognized by the Academy of Television Arts and Sciences with a prestigious 2012 Prime Time EMMY Engineering Award.

Also prominent among the ASC Technology Committee’s achievements during Clark’s tenure as chairman was the groundbreaking 2009 ASC-PGA (Producers Guild of America) Camera Assessment Series (CAS) which evaluated the performance of seven digital cinematography cameras compared with film. The ASC-PGA recently completed their follow-up 2012 Image Control Assessment Series (ICAS), designed to assess the ACES (Academy Color Encoding System) workflow performance of five frequently used digital cinematography cameras compared with 35mm film. Clark and the ASC Technology Committee have been active participants in the development and implementation of the innovative Academy of Motion Picture Arts and Sciences color management architecture known as ACES (Academy Color Encoding System). ACES has also been recognized by the Academy of Television Arts and Sciences with a prestigious 2012 Prime Time EMMY Engineering Award.

Clark is recipient of the prestigious American Society of Cinematographers President’s Award.

Clark is a member of the Academy of Motion Picture Arts and Sciences.

_____________________________

John Bailey, ASC
John has been a cinematographer since 1978 but he began his career as an assistant cameraman on the 1970 Monte Hellman cult film “Two Lane Blacktop.” As camera operator, he has also worked with directors Robert Altman, Robert Benton, and Terence Malick, and he has enjoyed relationships as cinematographer with directors as diverse as Paul Schrader, Lawrence Kasdan, Ken Kwapis, Michael Apted, John Schlesinger, Harold Ramis, and Norman Mailer.

He has also worked with directors Robert Redford, Herbert Ross, Walter Hill, Stuart Rosenberg, Wolfgang Petersen, Jonathan Demme, Robert Benton, James L. Brooks, Mark Steven Johnson, and Sam Raimi. He was cinematographer for Richard LaGravenese, Jennifer Jason Leigh & Alan Cumming, Callie Khouri, John Krasinski, Shana Feste, Stu Zicherman and Nat Faxon & Jim Rash on their feature film directorial debuts.

In an eclectic career, Bailey has photographed such mainstream Hollywood films as “Ordinary People,” “The Big Chill” “Silverado,” “The Accidental Tourist,” “Groundhog Day,” “In the Line of Fire,” “As Good as It Gets,”  “How to Lose a Guy in 10 Days,” “The Sisterhood of the Traveling Pants,” “Must Love Dogs”; such offbeat films as Norman Mailer’s “Tough Guys Don’t Dance,”  Jason Miller’s “That Championship Season,” and art house/indies and documentaries such as “Swimming to Cambodia,”  “A Brief History of Time,” “The Kid Stays in the Picture,” and “Incident at Loch Ness.”

Among Bailey’s other film credits are “Divine Secrets of the Ya-Ya Sisterhood”; “The Anniversary Party”;  “American Gigolo” and “Mishima: A Life In Four Chapters,” for which he shares the 1985 Cannes Film Festival Award for Best Artistic Contribution with composer Philip Glass and production and costume designer Eiko Ishioka.

Recent projects include John Krasinski’s directorial debut film “Brief Interviews with Hideous Men and Shana Feste’s  “The Greatest”. Both films were selected for competition in the 2009 Sundance Film Festival. Bailey also photographed Feste’s second film “Country Strong” starring Gwyneth Paltrow.

Beyond his work as a cinematographer, Bailey also directed the 1994 film noir thriller “China Moon,” starring Ed Harris, Benecio del Toro and Madeline Stowe, “Mariette in Ecstasy” from Ron Hansen’s acclaimed  novel, as well as the one person shows, David Hare’s “Via Dolorosa”  and Lily Tomlin’s  “The Search for Signs of Intelligent Life in the Universe”.  He photographed and directed the Imax concert film “N’Sync: Bigger Than Live.”

Bailey has written essays and film articles for the New York Times, American Cinematographer Magazine, ICG Magazine and the DGA Monthly. He currently writes a series of essays covering eclectic arts topics on a blog hosted by the American Society of Cinematographers:  http://www.ascmag.com/blog/

He has served on the juries of the Venice Film Festival, the Aspen Shortsfest and CamerImage in Poland. He has conducted workshops and seminars internationally; several years ago he was Kodak “Cinematographer in Residence” at UCLA.

Bailey currently serves on the Board of Governors of the Academy of Motion Picture Arts and Sciences, as well as the Board of Governors of the American Society of Cinematographers and on the National Film Preservation Board.

He recently was honored by the Big Bear Lake Film Festival with its Lifetime Achievement Award and by Kodak and the IATSE with its Mentor Award.

Bailey has long supported American independent and student filmmaking, serving for several years as the judge of Kodak’s annual student scholarship and cinematography awards. He is a member of the Film Scholars and Grants Committee, as well as the Nicholl Screenwriting Awards Committee at AMPAS.

His most recent film release, “Big Miracle” for Working Title and Anonymous Content, is with director Ken Kwapis. It is their fifth collaboration. In 2012, Bailey photographed four low budget HD features with the Arri Alexa. The two finished ones “A.C.O.D.” and “The Way Way Back” were accepted into the recent Sundance Film festival. His most recent credit is “The Angriest Man in Brooklyn” with director Phil Alden Robinson.

He is married to eminent film editor Carol Littleton.