The Reel Thing XXIX: Speaker Bios

Posted on Aug 27, 2012 | Comments Off on The Reel Thing XXIX: Speaker Bios

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Speaker Bios

 

Aaron Bocanegra

Aaron Bocanegra has more than 15 years of experience in creating engaging, cutting-edge work in traditional and digital media. He has worked with clients such as Dole, Art Center College of Design, and various architecture and design firms. He is a SCI-Arc Adjunct Faculty Member teaching post-graduate studies in interaction design—structural concepts of production which float between physical computing, systems design and web design. He received his BFA in fine art photography from the Rochester Institute of Technology and his MFA in Graduate Art Studies at Art Center College of Design.

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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.

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Tom Burton

As Executive Director of Technicolor Restoration Services, Mr. Burton guides a team of technical and creative specialists dedicated to the art and science of image restoration and preservation. Burton’s team provides a wide range of specialized services to major film studios, production companies and image archives worldwide, including restoration and re-mastering, digital image repair for both vintage and first-run feature films, and creation of archival preservation elements for film and video library assets. Recent work includes projects for Paramount Studios, The Walt Disney Company, la Cinémathèque Français, 20thCentury Fox, Shanghai Film Group, Warner Bros, Sony Pictures, Groupama Gan Foundation, HBO and NBC-Universal, among many others. Prior to joining Technicolor, Burton’s Emmy Award-winning production company provided animation, visual effects and motion control model/ miniature photography for the U.S. and international film and television markets. Mr. Burton received a Bachelor of Fine Arts degree from Bradley University and pursued graduate studies in filmmaking and animation at the University of California, Los Angeles.

Burton is an active member of the Academy of Television Arts and Sciences (ATAS), the American Society of Composers, Authors and Publishers (ASCAP) and serves as advisor to the College of Communications and Fine Arts, Bradley University. In recognition of Burton’s contributions to the institution, California State University, Northridge has named the school’s traditional animation facility the Burton Animation Laboratory. Burton’s spare moments are spent pursuing his other creative passion: playing club dates with his Los Angeles-based blues band.

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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.” 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.

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Dino Everett

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Mark Fleischhauer

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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.

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Steve Kochak

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Kevin McMahon

Kevin has worked for the Getty Research Institute, the library of the University of Limerick, Verso Press, and has been SCI-Arc’s library manager since 1989. Forthcoming publications include articles in the Society of Architectural Historians Journal, Cabinet magazine and in Brill Studies in Epigraphy. He presented “Michelangelo’s Marble Blog” at the 2011 meeting of the American Society of Greek and Latin Epigraphy, and will present “Appropriating Moving Image Archives Architecturally” at the 2013 SAH national conference. He graduated from the University of Illinois at Champaign-Urbana with a BA in Classics, and a MA from the UCLA Moving Image Archive Studies program in 2011, during which he received the Hollywood Foreign Press Association Award.

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Reza Monahan

Reza, SCI-Arc Media Services Supervisor, is a multi-media installation artist and filmmaker with more than ten years of editorial and web development experience. While working post-production for NBC, Dancing with the Stars, and VisualTV he oversaw many digitization and media management projects. He received his BFA from San Francisco Art Institute and his MFA from Art Center College of Design.

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Beverly Pasterczyk

Bev Pasterczyk received a BS ChE from the University of Rochester in 1982. She began her 30+ year career with Kodak as a Developmental Engineer specializing in process technologies. She’s held various engineering/technical support positions in New York and Los Angeles, and currently is the Regional Technical Director for the Americas Region for Kodak’s Entertainment Imaging Division. A SMPTE Fellow, Bev has been heavily involved in SMPTE over the years as an author, section manager/officer, and on the Board of Governors representing the Hollywood Section. She is also active in numerous other Industry Organizations including WIF (Women in Film), LFCA (Large Format Cinema Association), AMIA (Association of Moving Imaging Archivists) and AMPAS’ Scientific and Technical Academy Award Committee. In 2011 she became a Member At-Large of AMPAS.

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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. He can be reached at prizma2@gmail.com.

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Davide Pozzi

Davide Pozzi (Italy, 1977) 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 increased its workflow and widened its scope: an average between 40 and 60 films are restored each year, for national and especially international clients, and most restored films are premiered in major film festivals all around the world. Over recent years L’Immagine Ritrovata has establish itself as one of the most highly specialized laboratories in the field of film restoration worldwide.

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Paul R. Rutan Jr.

I entered into the film business in 1968 in New York City. I worked as a delivery boy for Perfect Film Lab and then worked for Carter Equipment Company in Inglewood in 1969. I started my full time career at my Father’s company, Optical Print Services Inc., in 1974. Our specialty was to convert non-standard film formats for television. Of course this was before telecine. We made 35mm for the networks and 16mm for the independent TV stations and the airlines. These formats included B&W, Color, 2 color and Technicolor. We were one of the few facilities that handled Nitrate. We converted Cinemascope, Techniscope, Technirama, 3 – Strip and 2 – Strip Technicolor, Cinecolor and other formats so they would fit on a TV screen. I started out as a shipping and receiving clerk. And, after 10 years became VP in charge of production. Our number one specialty was panning and scanning Anamorphic Negatives to CRI. In 1986 the company was forced to close due to the advent of Telecine Transfer.

I had left the Optical business, then, to try and pursue a career in Post Production (I hold a Film Editor’s Union Card). After a short period of time I was called in before my supervisors and was told that I was in the wrong business and that I should pursue what I do best. What I never realized is that the work I was doing was actually early film preservation. And, I had learned quite a bit about it after 12 years. So I left Columbia.

  • 1974 to 1986 Optical Print Services Inc. – Vice President Production
  • 1986 Columbia Pictures Television – Pooch
  • 1986 Getty Film Lab – Film Technician
  • 1986 to 1994: R.G.B. Optical – Restoration Department Supervisor
  • 1992 to 1998: Image Transform – Restoration Department Supervisor
  • 1998 to Present: Co- Owner Triage Archival Restoration Services
  • 2010 to Present: Eque Inc. – Senior Artistic Director – Digital Consultant

 

During this time I have preserved and restored hundreds, if not thousands of films. From the late 1800’s to the 1980’s I am currently a consultant for The Beatle’s Apple Corps and have restored “A Hard Days Night”, “Help”, Yellow Submarine” and “Magical Mystery Tour”. Some of the other pictures I have restored are Hitchcock’s “Marnie”, The Trouble With Harry” and “To Catch a Thief”,. Academy Award winning films such as “How Green Was My Valley”, “All The King’s Men”, “All About Eve”, “The Greatest Show On Earth”, “The Apartment” and “Tom Jones”and “Oliver”. I was the optical supervisor and assisted Bob Harris on “Spartacus” having created the 65mm recombined negative from out of register Technirama Masters. I also tested and was able to replace missing records in several of the shots including the “Snails and Oysters” sequence. I also assisted Mr. Harris with the 35mm ancillary material on ?|”My Fair Lady” . I have championed Shirley Temple films and The Beatles (of course). I have also restored all of the Leone films with the exception of “Once Upon A Time In America”. In fact, I was sent to Italy by Martin Scorsese to work from the Original Negative on “Once Upon A Time In The West”.  My digital restoration work includes “Yellow Submarine, “Magical Mystery Tour” and “Rockshow”

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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.

 

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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.

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Victor Virovac

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