{"id":5186,"date":"2015-04-29T16:51:01","date_gmt":"2015-04-29T16:51:01","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=5186"},"modified":"2021-06-01T16:50:52","modified_gmt":"2021-06-01T23:50:52","slug":"desert-bloom","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/desert-bloom\/","title":{"rendered":"Desert Bloom"},"content":{"rendered":"

Many are calling HPA 2015 the best ever, with even more growth on the horizon. By\u00a0Debra Kaufman.\u00a0All Photos Courtesy of Hollywood Post Alliance.<\/p>\n

\"Desert-Bloom_Lead\"
A sold-out audience of more than 500 attendees packed the Hyatt Regency Indian Wells for the 2015 HPA Tech Retreat<\/figcaption><\/figure>\n

While NAB, CES, and CineGear draw more overall eyeballs each year, it\u2019s the HPA (Hollywood Post Alliance) Tech Retreat that\u2019s become the industry\u2019s most anticipated event. The beauty of the HPA Tech Retreat is not just the pristine desert location (held again this year in Indian Wells, CA, from February 9 to 13, with no slot machines or cigarette smoke for miles) but the human chemistry \u2013 highly qualified professionals focused on one topic: the latest and greatest in entertainment industry technology. In other words, it\u2019s geek heaven.<\/p>\n

Even though this year\u2019s event drew a record 500 broadcast, film and TV industry professionals from all over the world, turning this once-intimate event into a larger convocation, form and content were as high as ever due to the Tech Retreat\u2019s annual programmer, Mark Schubin, who brings together surprising and interesting speakers, while also adding levity and quizzes on topics that are often quite arcane.<\/p>\n

Of course, all of the main technologies discussed at HPA <\/strong>(redubbed Hollywood Professional Alliance) \u2013 high dynamic range, ACES, and UHD\/4K \u2013 have been prominent on industry radars for many months. ICG President Steven Poster took a lead role via Tuesday\u2019s HPA Super Session, which also included cinematographer Daryn Okada, ASC; filmmaker Howard Lukk; and DI artist Dave Cole. Moderated by journalist Carolyn Giardina, the discussion focused on how Hollywood creatives think new technologies have changed filmic storytelling.<\/p>\n

All panelists were in agreement on the great potential of high dynamic range (HDR) for cinematographers and post professionals. \u201cI haven\u2019t been this excited since I shot my first 16-millimeter film,\u201d Okada confessed. Cole dubbed HDR \u201ca great storytelling mechanism that lifts the constraints we had previously.\u201d<\/p>\n

\"Desert-Bloom_01_Suspending-Disbelief_Michael-Goi,-ASC_When-and-How-to-Use-New-Tools-and-Techniques\"<\/a>
Michael Goi, ASC during the HPA Tech Retreat Panel: Suspending Disbelief: When and How to Use New Tools and Techniques<\/figcaption><\/figure>\n

Anyone who\u2019s seen HDR can attest that it offers the immersive quality that\u2019s almost 3D-like in nature \u2013 without the glasses or headaches. However, the question in my mind arose: is the tail wagging the dog? Television manufacturers have already put out \u201cHDR\u201d TV sets, even though there are no HDR standards. The result may likely be another \u201cWild West\u201d scenario of widely varying display devices and multiple ecosystems.<\/p>\n

\u201cVersioning is a huge problem,\u201d Lukk noted, and Cole agreed. \u201cAt the moment, it means that when I grade an HDR show, it will be for a particular set or projector,\u201d the colorist expressed. \u201cWhat we need to arrive at is a standard so it\u2019s interoperable on all the other formats\/devices. Otherwise, we\u2019ll have 50 versions of every show.\u201d<\/p>\n

\u201cGive us one standard, at least for theatrical HDR,\u201d Okada pleaded. \u201cWe can\u2019t grade for every set. But there needs to be a way of grading now so that we don\u2019t throw information away that we want later [for home displays].\u201d<\/p>\n

Cole did caution that HDR should be used judiciously, noting that \u201cthe bulk of the image should be in a comfortable range for viewing in a dark room without eye strain.\u201d<\/p>\n

\u201cHDR is a wonderful creative concept,\u201d Poster added. \u201cIt\u2019s not about being able to see everything from one end of the spectrum and light scale to the other, it\u2019s about being able to choose, to artistically use these values as the artist sees fit.\u201d<\/p>\n

Poster also urged attendees to \u201cstart thinking about a system\u201d that controls the display, and the color correction within that display, depending on the material. \u201cIn the meantime,\u201d he said, \u201cif we can\u2019t do that, let\u2019s get the manufacturer to have one button that can determine how the program is viewed.\u201d The trick, all agreed, is whether or not an HDR standard will be created in time to have an impact on the industry, especially on TV manufacturers, who have no reason to cooperate with their competition.<\/p>\n

\"Desert-Bloom_02_Steven-Poster,-ASC_Suspending-Disbelief_When-and-How-to-Use-New-Tools-and-Techniques\"
Steven Poster, ASC shared the stage with Goi for the HPA Tech Retreat Panel: Suspending Disbelief: When and How to Use New Tools and Techniques<\/figcaption><\/figure>\n

In another session titled \u201cNext Generation Cinema,\u201d<\/strong> cinematographer Bill Bennett, ASC, and ET Consultants\u2019 Garrett J. Smith and cinematographer\/author Dave Stump, ASC, addressed issues related to high frame rate (HFR) and new test materials, respectively \u2013 HFR being a technology that received an overall \u201cthumbs down\u201d in one of the Tech Retreat\u2019s signature events.<\/p>\n

At the end of each day, organizer Jerry Pierce asked the audience to vote by raising hands on the topics discussed \u2013 with very few hands raised for HFR. And the speakers reinforced that negative perception. Cole noted that \u201cHFR actually pushes the viewers away from the story.\u201d Poster agreed, stating that, with HFR, \u201cwe lose the ability to suspend disbelief.\u201d<\/p>\n

\u201cShooting in 24 frames per second has been the best possible way to make an audience suspend disbelief,\u201d he added. \u201cThe minute you get off the 24-frames-per-second standard, there\u2019s something temporal happening that changes the way you feel.\u201d<\/p>\n

Poster also expressed his unhappiness with what he called \u201cthe scourge\u201d of motion interpolation in new TV sets. \u201cIf we wanted motion interpolation, we would have done it in post,\u201d agreed Cole.<\/p>\n

It wasn\u2019t all gloom and doom for HFR; Bennett and Tessive\u2019s Tony Davis demonstrated Tessive Time Filter software that samples HFR footage down to 24 fps. With the Tessive Time Filter software, which takes ACES, ARRI RAW and other inputs, footage acquired at HFR of 120 fps or higher can then be sampled in postproduction, via \u201ca weighted average which equals an effective shutter\u201d to 24 fps.<\/p>\n

\u201cI believe this technique has the possibility of greatly improving what I do,\u201d described Bennett, who shoots a lot of car commercials. While software like Tessive\u2019s could potentially have an impact on HFR\u2019s acceptance, it seems more likely the technology is destined for niche uses.<\/p>\n

\"Desert-Bloom_03_Digital-Colorist-Dave-Cole\"<\/a>
Modern VideoFilm Colorist Dave Cole during the HPA Tech Retreat: The Creative Panel<\/figcaption><\/figure>\n

Without a doubt, the topic that took the center stage in multiple sessions was the Academy Color Encoding System, known to all as ACES. ICG Magazine Executive Editor David Geffner led Poster and Michael Goi, ASC, in a discussion on \u201cSuspending Disbelief: When and How to Use New Tools and Techniques.\u201d Sony Pictures Studios\u2019 SVP of technology Bill Baggelaar, DIT\/color Bobby Maruvada and cinematographer Theo van de Sande, ASC, shared \u201cThe 101 on Implementing ACES 1.0\u201d in a session moderated by Giardina. And Andy Maltz, managing director, Science and Technology Council, Academy of Motion Picture Arts and Sciences (AMPAS), talked about the implementation of ACES v. 1.0 with a presentation called \u201cFrom Snowflakes to Standards: Maintaining Creative Intent in Evolutionary Times.\u201d<\/p>\n

For a group of engineers who are constantly creating standards to corral new technology, Maltz was preaching to the choir. I\u2019m sure every CTO, post executive and engineer is praying that filmmakers adopt a workflow that will take a lot of the \u201cgotchas\u201d out of post. Will they? Time will tell. Maltz admitted it\u2019s been an uphill battle, saying how \u201cadopted infrastructures have a few things in common. Nothing works perfectly in the early days, the pioneers took some arrows, there were leaders and followers, open standards were developed and adopted, unforeseen opportunities presented themselves.\u201d<\/p>\n

Maltz described ACES\u2019 ten-year development path. The early focus was color management and future-proof design, with field trials beginning in 2011 and iterative architecture refinements based on field experience. The first SMPTE standards came out in 2013 and 2014. Since then, numerous productions have used the ACES workflow, including Chasing Mavericks<\/em>, 101 Dalmations<\/em>, Justified<\/em>, and Alamo Bay<\/em>. He pointed out that ACES offers major benefits not just to studios and networks but also to smaller productions and facilities. \u201cIt enables them to punch above their weight,\u201d Maltz described, \u201cby providing color science in a box.\u201d<\/p>\n

The Developers Kit, with finalized core encoding and transformer specifications as well as supporting infrastructure components (metadata and implementation guidelines and procedures) was released to Product Partners in December 2014. Based on industry feedback and conversations with end users, new features in ACES 1.0 include working spaces for color correction and VFX; improved on-set support; metadata and containers for LUTs; metadata look modification transforms; HDR support; a versioning system; OpenColorIO configurations for VFX tools; and user experience guidelines.<\/p>\n

\u201cWe need a comprehensive component naming and versioning system, and it turns out this isn\u2019t easy \u2013 the devil is in the details,\u201d Maltz admitted. Noting that open architecture is successful when social institutions grow to support it, Maltz enumerated the ways that the industry has organized around a single color and archiving standard.<\/p>\n

\u201cTraining events and textbooks have been published with ACES chapters,\u201d he said, \u201cand ACES has been used in unexpected applications in the broadcast and medical industries. There are independent educational videos, and not just in English. ACES also enables vendor and end-user contributions, so the Academy isn\u2019t providing everything you need,\u201d added Maltz, who says all ACES-relevant documents are available for free at www.Oscars.org\/ACES<\/a>.<\/p>\n

\"Desert-Bloom_04_HPA-Tech-Retreat-Master-of-Ceremonies-Mark-Schubin\"
HPA Tech Retreat Master of Ceremonies Mark Schubin<\/figcaption><\/figure>\n

The great synergy that occurs at HPA is due to the co-mingling<\/strong> of ideas between the techno geeks and creatives in the field. For example, cinematographer van de Sande, who used ACES on Deliverance Creek<\/em> (nominated for a 2014 ASC Award), said he \u201cunderstood immediately [that ACES] could give us a much more efficient way of showing the image to everybody who is involved on the set. There\u2019s a tremendous advantage in that confidence, which makes it more efficient and economical.\u201d<\/p>\n

Baggelaar said ACES provided a \u201ccommon language\u201d on Chappie<\/em>, making for \u201ca very flexible environment that allowed the post facility to help create the product that the cinematographer and director were after.\u201d Chappie<\/em> DI artist Maruvada added that what ACES does for him and his colleagues on set is \u201cgets us to the creative work a lot sooner because we\u2019re not trying to match cameras. For me, the biggest advantage is the preservation of the intent of the DP and director all the way through the process.\u201d<\/p>\n

Does ACES save time? Van de Sande reported that the DI for Deliverance Creek<\/em>, a 90-minute, complicated period film, took only two days because of the decisions made on set. Maruvada agreed. \u201cYes, I can get all my DI tools on set and put that in metadata that can be transmitted all the way down the pipeline,\u201d he offered. \u201cACES is a workflow that lets us get to the cinematographer\u2019s look faster.\u201d<\/p>\n

When asked if there are any improvements they\u2019d like to see in ACES 2.0, van de Sande mentioned more control of the post process. \u201cYou can manipulate tremendous detail,\u201d he said. \u201cIn the past, most of the time we did damage control from what happened on set. It\u2019s important that you bring more color correction to set so you can do more work in the DI, rather than spend your time getting your color back.\u201d<\/p>\n

Baggelaar said Sony Pictures is pushing to adopt ACES for theatrical releases and TV shows, in part to know what\u2019s archived in the vault. \u201cACES will give us that structure and the confidence that we can bring the look back to the original intent,\u201d he noted. \u201cWe\u2019re able to turn around ACES workflows we\u2019ve done and flip them around with HDR versions. If the system supports the ability to flip a component and not worry about underlying data, that\u2019s a huge advantage.\u201d<\/p>\n

Poster also made a strong statement in support of ACES.<\/p>\n

\u201cWe cinematographers are very passionate about our work,\u201d he announced, \u201cto the point where we tend to push our way into postproduction so we can protect the vision of the director as we made it happen on the set. The tools we have to color on set and that flow through to postproduction are very important. ACES is incredibly important because it gives us a common playing field.\u201d<\/p>\n

\"Desert-Bloom_05_Jan-Frolich_Next-Geneneration-Panel\"
Jan Frolich, Stuttgart Media University, and his presentation: Contemplating the Expanding Canvas: Pairing the Mathematics of Motion and Frame Rate with Artistic Vision<\/figcaption><\/figure>\n

Last but not least on the HPA tech menu was 4K\/Ultra HD (4K\/UHD),<\/strong> another topic I\u2019ve personally covered a lot in the last few months. My impression from HPA was that, like it or not (and many do not), 4K\/UHD is here to stay, from movie theaters to the Internet. But it\u2019s also in its infancy as a standard.<\/p>\n

\u201cThe clarity is nice,\u201d said Cole. \u201cBut in terms of acquisition, what camera manufacturers call \u20184K\u2019 is not necessarily the true resolution we\u2019re talking about. We\u2019re at this weird time in the industry when numbers are important, not the aesthetics of the image. We have to ask ourselves where we are going, why, and what the effects are.\u201d<\/p>\n

Poster talked about using a 4K-camera system (Canon C500) for a 2K result on his last project. \u201cMy choice was to go 2K 12-bit to get more color depth,\u201d he explained. \u201cWhat I\u2019m excited about is the quality of the sensors that we\u2019re getting in these cameras. I was able to shoot all my interior and exterior nights at 3200 ISO and get a great image with very little noise. At 12-bit, the roll-off of the colors was so gentle and exquisite that it reminded me more of film than anything I\u2019ve shot in digital.\u201d<\/p>\n

Okada has also shot 4K for a 2K release. \u201cI used it for oversampling,\u201d he described. \u201cI\u2019ll always trade resolution for bit depth or dynamic range. If 2K gave me more color, more bit depth, than I would go that route.\u201d Lukk used an \u201cup-resed\u201d 4K for his short film Emma<\/em>. \u201cWhen we got into the close-ups, we started to see all the textures,\u201d he recounted. \u201cWe backed down on the makeup because you could see the makeup in 4K, and HDR brought it out even more.\u201d<\/p>\n

Poster praised Tiffen\u2019s new filters as working \u201creally well with 4K.\u201d<\/p>\n

\u201cI\u2019m now seeing more use of glass diffusion than I have in a decade,\u201d he relayed. \u201cWhat actor wants to see every pore on her face?\u201d What the resolution gives is natural tonality, added Okada. \u201cIf you put a piece of glass in front of the lens, it\u2019s not saying you don\u2019t need the resolution,\u201d he said. \u201cIt\u2019s just orchestrating it for the story.\u201d<\/p>\n

\"Desert-Bloom_06_HPA-Demo-Room\"
HPA Tech Retreat Manufacturers Demo Room<\/figcaption><\/figure>\n

New test materials are necessary for all of the new technologies bandied about at HPA. Smith and Stump are spearheading the AMPAS\u2019 Science and Technology Council\u2019s decision to create test materials to investigate the parameters of HFR, HDR, high-density brightness and wider shutter angles.<\/p>\n

At HPA the organizers screened The Affair<\/em>, a scripted technical exploration that involved more than 100 volunteers from most branches of the Academy. The material was shot on a single ARRI ALEXA (2K at 24, 30, 48, 60, 72 and 120 fps) and at a variety of shutter angles as well as on two Sony F65 4K cameras, using a 3ality 3D rig with a custom IRND filter on one camera to achieve two different exposures six stops apart.<\/p>\n

\u201cWe also created a rigorously detailed report, which encapsulates our intent and the test plan going forward,\u201d the pair said. \u201cThe materials are currently being used to study wide gamut, HDR, high brightness and even wider shutter angles. We plan to create more test materials, but we want to foster community interaction.\u201d<\/p>\n

Once again, the HPA Tech Retreat succeeded in being many things at once: illuminating and tedious, enlightening and head-scratching. It\u2019s always been a great place to catch up with old friends from across the globe; this year it became a better place for visiting with Guild members. One can\u2019t help but have come away from the laid-back desert gathering with more optimism \u2013 the seriousness with which the ultra-techy members of our community approach our industry\u2019s creative processes and standards is always quite impressive.<\/p>\n","protected":false},"excerpt":{"rendered":"

Many are calling HPA 2015 the best ever, with even more growth on the horizon. By\u00a0Debra Kaufman.\u00a0All Photos Courtesy of Hollywood Post Alliance. While NAB, CES, and CineGear draw more overall eyeballs each year, it\u2019s the HPA (Hollywood Post Alliance) Tech Retreat that\u2019s become the industry\u2019s most anticipated event. The beauty of the HPA Tech Retreat is not just the pristine desert location (held again this year in Indian Wells, CA, from February 9 to 13, with no slot machines […]<\/p>\n","protected":false},"author":1,"featured_media":5193,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[1,10],"tags":[],"class_list":["post-5186","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized","category-web-exclusive"],"acf":[],"yoast_head":"\nDesert Bloom - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/desert-bloom\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Desert Bloom - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"Many are calling HPA 2015 the best ever, with even more growth on the horizon. By\u00a0Debra Kaufman.\u00a0All Photos Courtesy of Hollywood Post Alliance. While NAB, CES, and CineGear draw more overall eyeballs each year, it\u2019s the HPA (Hollywood Post Alliance) Tech Retreat that\u2019s become the industry\u2019s most anticipated event. 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