Thursday, May 24, 2018


  • Wednesday, Sep. 6, 2017
Sony rolls out VENICE Full-Frame digital motion picture camera system
Sony Electronics' VENICE

Sony Electronics is unveiling VENICE, its first Full-Frame digital motion picture camera system. VENICE is the next generation of Sony’s CineAlta camera systems, designed to expand the filmmaker’s creative freedom through immersive, large-format, Full Frame capture of filmic imagery producing natural skin tones, elegant highlight handling and wide dynamic range. VENICE was designed through close collaboration with the creative community, fulfilling the requirements from filmmakers and production professionals.
VENICE will be officially unveiled on Sept. 6, in front of a select audience of American Society of Cinematographers (ASC) members and a range of other industry professionals. Sony will also screen a short film, The Dig, the first footage shot with VENICE, produced in Anamorphic, written and directed by Joseph Kosinski and shot by Academy Award-winning cinematographer Claudio Miranda, ASC.
“We really went back to the drawing board for this one,” said Peter Crithary, marketing manager, Sony Electronics. “It is our next-generation camera system, a ground-up development initiative encompassing a completely new image sensor. We carefully considered key aspects such as form factor, ergonomics, build quality, ease of use, a refined picture and painterly look—with a simple, established workflow. We worked in close collaboration with film industry professionals. We also considered the longer-term strategy by designing a user interchangeable sensor that is as quick and simple to swap as removing four screws, and can accommodate different shooting scenarios as the need arises.”
Full frame sensor and wide range of lens compatibility
VENICE combines a newly developed 36x24mm Full Frame sensor to meet the high-quality demands of feature filmmaking. Full Frame offers the advantages of compatibility with a wide range of lenses, including Anamorphic, Super 35mm, Spherical and Full Frame PL mount lenses for a greater range of expressive freedom with shallow depth of field. The lens mount can also be changed to support E-mount lenses for shooting situations that require smaller, lighter, and wider lenses.  User-selectable areas of the image sensor allow shooting in Super 35 mm 4 – perf. Future firmware upgrades are planned to allow the camera to handle 36mm wide 6K resolution.  Fast image scan technology minimizes “Jello” effects.
New color management system and established workflow for flexible postproduction
A new color management system with an ultra wide color gamut gives users more control and greater flexibility to work with images during grading and postproduction. VENICE also has more than 15 stops of latitude to handle challenging lighting situations from low-light to harsh sunlight with a gentle roll-off handling of highlights.
VENICE achieves high quality and efficient file-based production through Sony’s established 16-bit RAW/X-OCN via the AXS-R7 recorder, and 10 bit XAVC workflows. VENICE is also compatible with current and upcoming hardware accessories for CineAlta cameras (DVF-EL200 Full HD OLED Viewfinder, AXS-R7 recorder, AXS-CR1 and high-speed Thunderbolt-enabled AXS-AR1 card reader, using established AXS and SxS memory card formats.
Intuitive design & refined functionality support simple and efficient on-location operation
VENICE has a fully modular and intuitive design with refined functionality to support simple and efficient on-location operation. It is the film industry’s first camera with a built-in 8-stage glass ND filter system, making the shooting process efficient and streamlining camera setup.  The camera is designed for easy operation with an intuitive control panel placed on the Assistant and Operator sides of the camera. A 24 V power supply input/output and LEMO connector allow use of many standard camera accessories, designed for use in harsh environments.
License options for individual production requirements
With VENICE, Sony is giving users the option to customize their camera by enabling the features needed, matched to their individual production requirements.  Optional licenses will be available in permanent, monthly and weekly durations to expand the camera’s capabilities with new features including 4K anamorphic and Full Frame, each sold separately. 
The VENICE CineAlta digital motion picture camera system is scheduled to be available in February 2018.

  • Wednesday, Sep. 6, 2017
FUJIFILM to intro smallest, lightest 4K, HDR-compatible broadcast lens at IBC
FUJIFILM's UA24x7.8 lens

At the IBC convention in Amsterdam this month, the Optical Devices Division of FUJIFILM will introduce what’s billed as being the world’s smallest (total length approx. 220.5mm) and lightest (approx. 1.98kg) broadcast lens that supports 4K production. Despite its compact body, the “UA24x7.8” features a 24x high magnification zoom, covering a focal length from the wide angle of 7.8mm to 187mm. This new portable lens allows users to shoot high-definition, realistic videos in environments requiring significant mobility, such as live sports and news from remote locations.

“Its portability and 4K HDR (High Dynamic Range) capability makes this new lens a huge boon to anyone looking to decrease shoulder-weight and capture detailed close ups when shooting hand-held,” said Thomas Fletcher, director of sales, FUJIFILM Optical Devices Division. “The UA24x really shows its power when combined with a 4K camcorder. With the increased use of 4K camcorders, the need for similarly compact and lightweight lenses has become more apparent, and productions using ultra-portable equipment continue to spread. We’re seeing a big increase in Japan, Europe and North American shooting 4K video for sports, news and in-studio shooting. And with OTT video available in 4K on PCs and tablets, that will only continue to increase.”

The new UA24x provides advanced optical performance, with 4K compatibility, throughout the entire zoom range. It includes Fujifilm’s proprietary “HT-EBC (High Transmittance Electron Beam Coating)” multi-layer coating that provides a high level of transmittance and color reproduction. HT-EBC, coupled with Fujifilm’s exclusive Aspheric Technology, reduces ghost and flare and increases light transmission. In addition, by thoroughly reducing chromatic aberrations, which are a common occurrence in telephoto zooms, it is also possible to shoot utilizing HDR. Rich tones can be reproduced, even when shooting scenes with intense contrast, such as stadiums at dusk.

The latest optical simulation technology was used in the lenses’ optical design to prevent resolution degradation around the edges and control aberrations, thus achieving 4K image quality across the zoom range. An aperture shape close to that of a circle is achieved by adopting nine aperture blades, which provides a more natural bokeh.

The FUJINON UA24x is the latest zoom lens in the company’s Premier UA Series of 4K 2/3” lenses. The UA Series is the first designed specifically for UHD broadcast applications.  The addition of this product expands Fujifilm’s 4K broadcast lens lineup to eight models in total,  catering to the various needs for 4K HDR video production. Other handheld zooms in this line up include: the UA14x4.5B, UA18x5.5B, UA13x4.5B and UA22x8B lenses. A new studio lens is now available, the UA27x6.5B, and field lenses, the UA80x9 and UA107x8.4, round out the series.

The Optical Devices Division will exhibit in Hall 12, Stand B20 during IBC, which runs from September 15-19 at the RAI convention center in Amsterdam.

The ““UA24x7.8” is scheduled for release in January 2018.

  • Friday, Sep. 1, 2017
MAXON rolls out Cinema 4D Release 19 
MAXON Cinema 4D Release 19

MAXON announces immediate availability of Cinema 4D Release 19 (R19). This next generation of MAXON’s professional 3D application delivers both great tools and enhancements artists can put to use immediately, and provides a peek into the foundations for the future. Designed to serve individual artists as well as large studio environments, Release 19 offers a fast, easy, stable and streamlined workflow to meet today’s challenges in the content creation markets; especially general design, motion graphics, VFX, VR/AR and all types of visualization.

Cinema 4D R19 Feature Highlights Include:

  • Viewport Improvements – Results so close to final render that client previews can be output using the new native MP4 video support.
  • MoGraph Enhancements – Added workflow capabilities in Voronoi Fracturing and an all-new Sound Effector.
  • New Spherical Camera – Lets artists render stereoscopic 360° Virtual Reality videos and dome projections.
  • New Polygon Reduction – Easily reduce entire hierarchies while preserving vertex maps, selection tags and UV coordinates to ensure textures continue to map properly and preserve polygon detail.
  • Level of Detail (LOD) Object – Define and manage settings to maximize viewport and render speed, or prepare optimized assets for game workflows. Exports FBX for use in popular game engines.
  • AMD’s Radeon ProRender – Now seamlessly integrated into R19, providing artists with a cross-platform GPU rendering solution.
  • Revamped Media Core – Completely rewritten software core to increase speed and memory efficiency for image, video and audio formats; native support for MP4 video without QuickTime.
  • Robust Modeling – A new modeling core with improved support for edges and N-gons can be seen in the Align and Reverse Normals commands.
  • BodyPaint 3D – Now uses an OpenGL painting engine, giving R19 artists a real-time display of reflections, alpha, bump or normal, and even displacement for improved visual feedback and texture painting when painting color and adding surface details in film, game design and other workflows.

MAXON Cinema 4D R19 will make its European debut at the MAXON booth in Hall 7, K30 at IBC 2017, which will take place from September 15–19, 2017, at the RAI Convention Center in Amsterdam.

In addition, internationally-renowned 3D artists including Peter Eszenyi, Sophia Kyriacou and Tim Clapham, as well as creatives from other international studios, will share insights into and techniques used on projects created with Cinema 4D. Partners including Google, Insydium, and Redshift will present important workflow integrations with Cinema 4D. 

Cinema 4D Release 19 is available from MAXON or its authorized dealers. MAXON Service Agreement customers whose MSA is active as of September 1, 2017 will be upgraded automatically. Cinema 4D R19 is available for Mac OS X and Windows; Linux nodes are also available for network rendering.

  • Wednesday, Aug. 30, 2017
Weezer's "Feels Like Summer" music video shot with URSA Mini Pro 4.6K
Weezer in concert
FREMONT, Calif. -- 

Blackmagic Design announced that American rock band Weezer’s new music video for its song “Feels Like Summer” was shot using an URSA Mini Pro 4.6K digital film camera. Cinematographer Gabe Kimpson, along with directors Brendan Walter of Crush Music and Jade Ehlers, were tasked with replicating the legendary Guns N’ Roses “Paradise City” video with Weezer on the stage in front of screaming fans instead, as told from the point of view of a Weezer roadie in the 1980s.
Kimpson has shot music videos for some of the biggest bands in the world, including Fall Out Boy, Train and New Politics. For “Feels Like Summer,” Walter and Ehlers, of Scantron No. 2 Pencil, decided to shoot at Los Angeles’ iconic Rose Bowl Stadium during the Arroyo Seco Weekend music festival where Weezer was performing. During the performance, the URSA Mini Pro was set up center stage at the front of the pit and was mounted on a Manfrotto tripod, then switched to handheld for a more lively, energetic feel.
“This shoot was amazing. We had to include staged behind-the-scenes shots of the band, the stage and the crowd. Since we wanted it to feel like the viewer is a roadie with Weezer, if Weezer had been an 80s hair band, I was shooting in the pit with 20 to 30 other photographers and videographers with screaming fans all around,” said Kimpson.
“An issue during the shoot was that the majority of the stage was shaded, but some parts were in direct sunlight as well as all of the audience. Therefore, very fast changes between proper exposures had to be met, along with relying heavily on the large dynamic range that the URSA Mini Pro is capable of,” Kimpson noted. “The URSA Mini Pro’s built-in ND filters proved to be an essential tool to ensure proper exposure at the turn of a knob to keep up with the fast pace of the live performance and capture those quick moments, especially since there were no second takes.
“With the main concern being the vast differences in exposure from direct sunlight to shade, we didn’t want any of the highlights blowing out if possible, so we really pushed the dynamic range of the URSA Mini Pro to the extremes. And I think we were able to accomplish what we needed and then some by providing even better colors with gorgeous skin tones,” he continued. “One of the joys of shooting with this camera is having the confidence that you are capturing footage at the proper exposure while knowing that you will still have a ton of latitude to push it in the color grade. The ability to push the limits in the color grade was a blessing.”
During the performance, being able to turn from the stage to the audience and back again to capture key moments was essential.
“I had to capture my shots while moving around in a small space, and the URSA Mini Pro’s size really allowed me to be nimble. I had plenty of shots where I had to raise the camera directly over head, and not only does the weight and handle grip help with a shot like that, but so does the screen, which has the ability to rotate 180 degrees up or down. Shooting blind is never something I like to do, so being able to hold the camera directly overhead while still seeing what I was shooting was great,” said Kimpson.
“The entire shoot went really well, and the URSA Mini Pro’s dynamic range and image quality were the factors that influenced our use the most. We also loved being able to save money, because of the URSA Mini Pro’s affordability, and then being able to invest the savings into other areas of the production while still providing the client with a stellar image. Dynamic range, size, image quality and affordability are second to none, and it was really a no brainer to go with this camera.” 

  • Tuesday, Aug. 29, 2017
Are consumers ready to give augmented reality a try?
This photo provided by Ikea demonstrates Ikea's augmented reality app called IKEA Place, on an iPhone, allowing a user to superimpose virtual images over real-life settings. The app allows shoppers to see how furniture will look in their living room or other space before buying it. (Ikea via AP)

You might have gotten a taste of "augmented reality," the blending of the virtual and physical worlds, as you chased on-screen monsters at real-world landmarks in last year's gaming sensation, "Pokemon Go."

Upcoming augmented reality apps will follow that same principle of superimposing virtual images over real-life settings. That could let you see how furniture will look in your real living room before you buy it, for instance.

While "Pokemon Go" didn't require special hardware or software, more advanced AR apps will. Google and Apple are both developing technology to enable that. Google's AR technology is already on Android phones from Lenovo and Asus. On Tuesday, Google announced plans to bring AR to even more phones, including Samsung's popular S8 and Google's own Pixel, though it didn't give a timetable beyond promising an update by the end of the year.

As a result, Apple might pull ahead as it extends AR to all recent iPhones and iPads in a software update expected next month, iOS 11. Hundreds of millions of AR-ready devices will suddenly be in the hands of consumers.

But how many are ready to give AR a try?

Of the dozen or so apps demoed recently for Android and iPhones, the ones showing the most promise are furniture apps .

From a catalog or a website, it's hard to tell whether a sofa or a bed will actually fit in your room. Even if it fits, will it be far enough from other pieces of furniture for someone to walk through?

With AR, you can go to your living room or bedroom and add an item you're thinking of buying. The phone maps out the dimensions of your room and scales the virtual item automatically; there's no need to pull out a tape measure. The online furnishing store Wayfair has the WayfairView for Android phones, while Ikea is coming out with one for Apple devices. Wayfair says it's exploring bringing the app to iPhones and iPads, too.

As for whimsical, Holo for Android lets you pose next to virtual tigers and cartoon characters. For iPhones and iPads, the Food Network will let you add frosting and sprinkles to virtual cupcakes. You can also add balloons and eyes — who does that? — and share creations on social media.

Games and education are also popular categories. On Apple devices, a companion to AMC's "The Walking Dead" creates zombies alongside real people for you to shoot. On Android, apps being built for classrooms will let students explore the solar system, volcanoes and more.

Virtual reality is a technology that immerses you in a different world, rather than trying to supplement the real world with virtual images, as AR does. VR was supposed to be the next big thing, but the appeal has been limited outside of games and industrial applications. You need special headsets, which might make you dizzy if you wear one too long.

And VR isn't very social. Put on the headset, and you shut out everyone else around you. Part of the appeal of "Pokemon Go" was the ability to run into strangers who were also playing. Augmented reality can be a shared experience, as friends look on the phone screen with you.

While AR shows more promise than VR, there has yet to be a "killer app" that everyone must have, the way smartphones have become essential for navigation and everyday snapshots.

Rather, people will discover AR over time, perhaps a few years. Someone renovating or moving might discover the furniture apps. New parents might discover educational apps. Those people might then go on to discover more AR apps to try out. But just hearing that AR is available might not be enough for someone to check it out.

Consider mobile payments. Most phones now have the capability, but people still tend to pull out plastic when shopping. There's no doubt more people are using mobile payments and more retailers are accepting them, but it's far from commonplace.

Expect augmented reality to also take time to take off.

  • Tuesday, Aug. 29, 2017
Thinkbox releases Deadline 10
Deadline 10

Thinkbox, an Amazon company, has announced the availability of Deadline 10, the latest version of the compute management software that makes render farm workflows behind 3D modeling and graphics applications more flexible by enabling customers to access any combination of on-premises and cloud-based resources for hybrid workflows. Deadline 10 is the first release to offer customers access to Amazon Elastic Compute Cloud (EC2) Spot Instances that can significantly reduce the cost of running rendering applications, and help customers increase compute capacity on the same budget. Customers can also purchase by-the-minute render time in the AWS Cloud through Thinkbox’s Marketplace. Deadline for Autodesk 3ds Max, Autodesk Maya, Arnold, an Autodesk offering, and Chaos Group’s V-Ray can all be purchased in the marketplace. Deadline 10, including support, is offered at a lower price of $48.00 per year.  (Perpetual licenses are available upon request.) To get started, visit  

Deadline 10 integrates with the AWS Cloud to enable customers to expand their render farms--whether on-premises, cloud, or hybrid--simply and securely. To ensure that all the appropriate assets are available in the cloud, Deadline synchronizes with local servers and manages the data transfer before rendering begins, tagging accounts and instances for bill allocation. With flexible third-party licensing options, Deadline 10 customers can purchase software licenses from the Thinkbox Marketplace, bring their own licenses, or leverage a combination of the two to grow render farms elastically from the AWS Cloud. 
“Thinkbox has a long history of streamlining rendering for media and entertainment companies, and Deadline 10--our most flexible and cost-efficient release yet--empowers customers to render without limits,” said Chris Bond, founder of Thinkbox Software and director of product management, Amazon EC2, at AWS. “Becoming part of the Amazon family has helped us scale out, and we look forward to continuing to enhance the product’s on-premises, cloud-based, and hybrid compute management capabilities.”

“Autodesk customers have benefited from Deadline and Thinkbox’s artist plug-ins,” said Chris Bradshaw, sr. VP, Media & Entertainment, Autodesk. “With the integration of our products into the Thinkbox Marketplace, our customers can tap into Deadline and the AWS Cloud for their rendering workflow.” 

  • Monday, Aug. 28, 2017
Fraunhofer HHI digitizes people; VR technology will be showcased at IFA, Berlin
Fraunhofer Heinrich Hertz Institute's 3D Human Body Reconstruction technology in action.

Scientists at Fraunhofer Heinrich Hertz Institute (HHI) have developed a method by which the realistic image of a person can be transmitted into a virtual world. The 3D Human Body Reconstruction technology captures real persons with multiple cameras at the same time and creates naturally moving dynamic 3D models. At this year’s trade fair IFA in Berlin from Sept. 1-6 (Hall 26a, Booth 219a – Deutsche TV Plattform) Fraunhofer HHI will show this camera technology.

Fraunhofer HHI researchers have developed a camera system that films people with a perfect three-dimensional impression. The core of this system is a stereo camera: Just as people do it with their two eyes, the camera records the person with two lenses. This stereoscopic vision results in distances being estimated well, because both eyes look at an object from a slightly different angle. The result is a three-dimensional impression. Recording a person in detail from all directions takes more than one camera. Fraunhofer HHI is currently using more than 30 cameras to map a human. Each camera only captures a part of the person. The challenge is to merge the individual camera images together so that a realistic overall picture is produced.

The Fraunhofer-Gesellschaft is a leading organization for applied research in Europe. Its research activities are conducted by 69 institutes and research units at locations throughout Germany. The Fraunhofer-Gesellschaft employs a staff of 24,500, who work with an annual research budget totaling 2.1 billion euros. Of this sum, 1.9 billion euros is generated through contract research. More than 70 percent of the Fraunhofer-Gesellschaft’s contract research revenue is derived from contracts with industry and from publicly financed research projects. International collaborations with excellent research partners and innovative companies around the world ensure direct access to regions of the greatest importance to present and future scientific progress and economic development.

The system includes more than just the camera technology. The researchers have developed algorithms that can quickly extract depth information from the stereoscopic camera images. This is necessary in order to calculate the 3D form of a captured person. The computer calculates a virtual model of the human, which is then transferred into the virtual scene. The cameras perceive the surface shape with many details. In this way even small wrinkles, e.g. on the clothes of the person, can be shown. The model has a natural and realistic appearance.

The fusing of the 3D information from the various camera images only takes a few seconds. The system transmits the three-dimensional dynamic model of a person rapidly into Virtual Reality. A person can move freely in a dedicated capture area. The virtual image portrays every gesture and movement realistically.

  • Thursday, Aug. 24, 2017
"Le Bureau des Légendes" delivered in Ultra HD 4K with DaVinci Resolve Studio
A scene from “Le Bureau des Légendes"
FREMONT, Calif. -- 

Blackmagic Design announced that its DaVinci Resolve Studio and DaVinci Resolve Advanced Panel were used to complete picture post in Ultra HD 4K on the third season of award winning Canal+ French drama series, “Le Bureau des Légendes.”
Postproduction for the 10-part series now available on Amazon Prime was completed at Paris-based Digital Factory by freelance colorist Guillaume Lips. “Not only did we grade the entire series from beginning to end in Resolve, but we also delivered in Ultra HD 4K for the first time,” he shared.
The turnaround for completing the DI on each episode was incredibly tight according to Lips. “With only two days to complete an episode, our workflow needed to be both fast and efficient. Not only did Resolve’s realtime performance provide first-class shot tracking but it also meant that we could work with the project native materials in 4K.”
While the main unit captured to ProRes 4444, there was a whole raft of smaller cameras used by the production’s second unit to shoot the action scenes. “Resolve’s extensive format and multi-codec support proved invaluable,” explained Lips. “We carried out a basic technical grade to adjust contrast levels and correct for the differences in color space and that gave us our starting point for the final DI.”
When grading scenes from Syria, Lips drew on DaVinci Resolve’s extensive toolset and a series of power windows to unlock the rich deep tones and add a large amount of contrast while still retaining enough detail in the highlights and shadows.
“In order to achieve that, I used the HDR capabilities in Resolve to finesse the midtones,” he said. “And when it came to skin tones I wanted to bring back as much softness as possible to mitigate any over-definition resulting from the 4K delivery which Resolve proved highly adept at handling.”
Lips concluded, “As an experienced colorist I have worked with a lot of different grading systems in my career and I firmly believe that DaVinci Resolve remains one of the very best in the market today. Used alongside the DaVinci Resolve Advanced Panel you have a very efficient way of working, which allowed me to complete the grade on this particular project in record time.”

  • Thursday, Aug. 24, 2017
FilmLight boosts Baselight for Avid functionality and efficiency with 5.0 at IBC
Baselight for Avid

Color science and grading specialist FilmLight is showcasing the latest release of Baselight for Avid, its high-productivity plugin that brings color control and preview to editing workstations, at IBC2017 (Amsterdam, September 15-19, stand 7.F31). With Baselight for Avid and FilmLight’s render-free, metadata-driven workflows, editors always see the latest grade, and can make their own adjustments to it without leaving the Avid environment.

The new release, while still providing sophisticated, professional color grading within the familiar Avid environment, brings even greater efficiencies from the Baselight platform. A new visual timeline allows the user to see and move easily between shots. Combined with the new relational navigation tool, which allows users to narrow down material very quickly and move between shots with the same clip or tape name, navigation is both seamless and simple. 

The popular Baselight workspaces tool is also available in Baselight for Avid 5.0, allowing users to customise their screen and arrange panels within the Baselight UI according to their individual needs and preferences. 

Beyond navigation and layout, the addition of relational grading replicates Baselight’s powerful multi-shot grade application, by allowing grades to be copied and imposed on shots defined by the same category, such as clip name, bin name, camera and so on. 

The latest version also brings the new grading tools introduced in Baselight 5.0 into the Avid workspace. This includes the revolutionary Base Grade concept from FilmLight, which gives the artist access to a set of controls that accurately mimic the way the eye appreciates color, rather than the traditional lift/gamma/gain approach. Also featured is the texture equalizer, which can be used for skintone fixes: giving the editor the ability to clean up skin issues without handing the shot off to a colorist is another huge productivity boost. Other new functionality includes perspective tracking for grading windows, gamut tools for moving between color spaces, and denoise.

Baselight for Avid is part of FilmLight’s unique unified approach to color management. The raw images are retained throughout, with the grade captured in metadata in the FilmLight BLG format. Any device, from Prelight ON-SET or the Daylight dailies tool through Baselight for Avid to the full colorist suite, will interpret the BLG metadata and impose the latest version of the grade in real time.

“What our users have told us, very clearly, is that the FilmLight BLG workflow is hugely productive--and they want to use it more,” said Martin Tlaskal, lead developer, FilmLight. “They want editors and other users of Baselight plugins to have the same functionality that the colorist has, and see precisely the same grade, however rich and sophisticated. This new version of Baselight for Avid achieves just that. This is another huge step forward for collaborative workflows, helping facilities work more productively and achieve a better, more dynamic final result.”

FilmLight will be showing its full range of grading and color management systems on stand 7.F31 at IBC, and will be highlighting the productivity gains of the BLG render-free workflow. Baselight for Avid can also be seen at the Avid booth, 7.J20.

  • Tuesday, Aug. 22, 2017
SMPTE unveils awards recipients for 2017
SMPTE 2017 Progress Medal recipient Paul E. Debevec

SMPTE® has revealed the outstanding individuals who will be recognized with 2017 awards as part of the SMPTE 2017 Annual Technical Conference & Exhibition (SMPTE 2017) in Hollywood, California.

This year, the Annual SMPTE Awards Gala will take place on Thursday, Oct. 26, and will feature a red carpet, reception, and dinner in the Hollywood Ballroom of the Loews Hollywood Hotel. In addition, Fellows elevations will be conferred at the SMPTE 2017 Fellows Luncheon on Tuesday, Oct. 24.

Honorary Membership is the Society's highest accolade. It recognizes individuals who have performed distinguished service in the advancement of engineering in motion pictures, television, or in the allied arts and sciences. Honorary Members who have passed away are named to the SMPTE Honor Roll, which also posthumously recognizes individuals who were not awarded Honorary Membership during their lifetimes but whose contributions would have been sufficient to warrant such an honor.

Renville "Ren" H. McMann Jr. (1927 – 2015) will be inducted into the Honor Roll in recognition of his award-winning leadership in the development of television and imaging technology. McMann held more than 36 patents for inventions that include the electronic video recorder, the electronic image enhancer, the color camera system, and the magnetic scan conversion techniques used by NASA to bring color television images from the moon to viewers around the world. He was the principal inventor for and a major participant in projects such as the development of the CBS Minicam Mark VI, the first handheld color TV camera. A tireless and curious engineer, McMann made many contributions to the advancement of color television signal processing and image gathering technology. Along with those contributions, his pioneering work in the field of high-definition television systems has garnered worldwide recognition.

The Progress Medal is the most prestigious SMPTE award, and it recognizes outstanding technical contributions to the progress of engineering phases of the motion picture, television, or motion-imaging industries.

SMPTE is presenting the 2017 Progress Medal to Paul E. Debevec in recognition of his achievements and ongoing work in pioneering techniques for illuminating computer-generated objects based on measurement of real-world illumination and their effective commercial application in numerous Hollywood films. Techniques from his research have been used to dramatic effect in films such as the "The Matrix" sequels, "The Curious Case of Benjamin Button," "District 9," "Avatar," "Rogue One: A Star Wars Story," and "Life of Pi." Debevec is also a pioneer in high-dynamic-range (HDR) imaging and co-author of the 2005 book "High Dynamic Range Imaging: Acquisition, Display, and Image-Based Lighting," now in its second edition.

The Camera Origination and Imaging Medal recognizes significant technical achievements related to inventions or advances in imaging technology, including sensors, imaging processing electronics, and the overall embodiment and application of image capture devices. David S. Corley will receive the award for his five decades of continuous innovation in measurement and calibration tools for image acquisition, display, and color correction.

The David Sarnoff Medal recognizes outstanding contributions to the development of new techniques or equipment that have improved the engineering phases of television technology, including large-venue presentations. The award will be presented to Phillip Bennett in recognition of his significant contributions to the broadcast industry with his work in video effects, still stores, and digital standards conversion during the dawning of the digital video era. Over the years, Bennett has developed many groundbreaking products for broadcasters, including the very successful Ampex Digital Optics (ADO) digital video effects system and one of the very early digital disk recorders.

The Digital Processing Medal recognizes significant technical achievements related to the development of digital processing of content for cinema, television, games, or other related media. Michael A. Isnardi will receive the award for his contributions to the art of digital video delivery systems, including video encoding, re-encoding, and quality evaluation. Isnardi's body of work includes one of the first advanced television systems proposals, encoder, compressed-domain watermarking the first real-time Motion Picture Experts Group (MPEG), Emmy® Award-winning MPEG Compliance Bitstreams, compressed-domain bit rate reduction, salience-based compression, and JND evaluation of JPEG 2000 for digital cinema applications. His current work includes sub-Nyquist compressed sensing and skin-tone analysis algorithms.

The James A. Lindner Archival Technology Medal, sponsored by James A. Linder, recognizes significant technical advancements or contributions related to the invention or development of technology, techniques, workflows, or infrastructure for the long-term storage, archive, or preservation of media content essence. The 2017 award will be presented to James M. Reilly for his more than three decades of contributions to image preservation and sustainable preservation practices. In 1985, Reilly founded the Image Permanence Institute, a non-profit, university-based laboratory devoted to preservation research — the world's largest independent laboratory with this specific scope. As its founder and director, Reilly studied the mechanisms of film deterioration and developed technology, techniques, and preservation strategies to lengthen its life in storage.

The Samuel L. Warner Memorial Medal, sponsored by Warner Bros., recognizes outstanding contributions in the design and development of new and improved methods and/or apparatus for motion picture sound, at any step in the process. The award will be presented to Mark Robert Gander in recognition of his contributions to the design and development of cinema loudspeaker systems. Gander has brought a comprehensive perspective to these efforts and has been responsible for every aspect of bringing a new loudspeaker design to market, from transducer engineering through logistics of manufacture and distribution to the signature marketing of the JBL Professional cinema product line. In his four decades devoted to the highest fidelity cinema sound reproduction, Gander has influenced cinema loudspeaker design industrywide.

The Technicolor — Herbert T. Kalmus Medal, sponsored by Technicolor, Inc., recognizes outstanding contributions that reflect a commitment to the highest standards of quality and innovation in motion picture postproduction and distribution services. The award will be presented to Joseph Goldstone for his innovations in the design and implementation of hardware and software to perform the accurate analysis and characterization of photochemical film processes, including film printing, which have been used in color management systems by the motion picture industry. Goldstone's early work involved the creation and refinement of film scanning and recording processes used for visual effects (VFX) creation at Digital Domain and Industrial Light & Magic (ILM). He was a pioneer in incorporating color science theory into digital production and postproduction workflows, and he is currently working on digital image processing for the ALEXA camera systems at ARRI. Goldstone is a key contributor to the Academy of Motion Picture Arts and Sciences (AMPAS) Academy Color Encoding System (ACES) and serves on several SMPTE Technology Committees (TCs): TC-10E DG Dynamic Metadata for Color Transforms of HDR and WCG Images, TC-32NF-40 DG HDR and WCG Signaling on Streaming Interfaces, and TC-31FS DG Constrained DPX for HDR.

The Workflow Systems Medal, sponsored by Leon Silverman, recognizes outstanding contributions related to the development and integration of workflows, such as integrated processes, end-to-end systems or industry ecosystem innovations that enhance creativity, collaboration, and efficiency, or novel approaches to the production, postproduction, or distribution process. The award will be presented to Randy Ubillos in recognition of his role in establishing the foundation of accessible and affordable digital nonlinear editing software that fundamentally shaped the industry landscape and changed the way visual stories are created and told. Ubillos' revolutionary work with creating and designing lower-cost editing software such as Final Cut Pro® and Adobe® Premiere® shifted the film and television industry toward a more inclusive future, giving storytellers of diverse backgrounds and experience levels the ability to tell their stories and rise as filmmakers, technicians, engineers, and key players in every facet of media and entertainment. His work significantly enhanced and transformed the world of postproduction, popularizing and commoditizing file-based workflows while removing significant barriers to the creative editing process for millions of users worldwide.

Each year, one SMPTE Journal Award is presented to the author of the most outstanding paper originally published in the SMPTE Motion Imaging Journal during the preceding calendar year. The SMPTE Journal Award will be presented to Sean T. McCarthy for the article "How Independent Are HDR, WCG, and HFR in Human Visual Perception and the Creative Process?" published in the May/June 2016 issue of the SMPTE Motion Imaging Journal.

Two Journal Certificates of Merit will be presented to:

  • Katy C. Noland for the article "High Frame Rate Television: Sampling Theory, the Human Visual System, and Why the Nyquist–Shannon Theorem Does Not Apply," published in the April 2016 issue of the SMPTE Motion Imaging Journal.
  • David Long and Mark D. Fairchild for the article "Observer Metamerism Models and Multiprimary Display Systems," published in the April 2016 issue of the SMPTE Motion Imaging Journal.

The Student Paper Award recognizes the outstanding paper prepared and submitted by a Student Member. The paper receiving the Student Paper Award will be published in the SMPTE Motion Imaging Journal.

The 2017 award will be presented to Elizabeth DoVale, a recent graduate of the Rochester Institute of Technology in Rochester, New York, for her paper "High Frame Rate Psychophysics: Experimentation to Determine a JND for Frame Rate."

Jonathan Bouchard, a student at McGill University in Montréal, Québec, Canada, will receive an honorable mention for his paper "Quality Control of Stereoscopic 3-D Compositing Using Half-Occlusion Geometry."

The Presidential Proclamation recognizes individuals of established and outstanding status and reputation in the motion picture, television, and motion-imaging industries worldwide. Mark Schubin will receive the award in recognition of his five decades of contributions to the television technology industry. An internationally recognized expert with an insatiable intellectual curiosity, Schubin has worked in every aspect of television production, including design, manufacturing, lighting, sound, camera, editing, distribution, as well as talent, and his projects have spanned every continent of the globe. Today, he supports the broadcasting of Metropolitan Opera (The Met) productions to cinemas and televisions around the world. Schubin is an active SMPTE Life Fellow and a sought-after resource in educating the industry on the history and current state of motion-imaging technology.

The Excellence in Standards Award recognizes individuals or companies that have been actively involved in advancing the Society's standards activities and processes. Johann Safar will receive this award in recognition of his continuous participation in SMPTE's standards work for more than 30 years. Safar has contributed to the development of countless standards related to the compression and formatting of multimedia content for storage on analog and digital media, as well as the development of Time Code, ancillary data formatting and mapping. He is a careful reviewer of SMPTE standards, with a focus on ensuring harmonization and compatibility of interrelated standards across multiple technology committees. Safar's dedicated performance in the SMPTE Standards Community has resulted in a high quality of professional standards documents.

The Society Citation recognizes individuals or companies that have actively been involved in specific Society engineering or editorial functions. Elizabeth "Betty" Migliore will receive this award in recognition of her 45 years of service with SMPTE and her contributions to the standards program. A dedicated and loyal staff member, Migliore joined SMPTE in November of 1972 as secretary to the staff director of engineering. Over the years, she has been steadfast in supporting SMPTE's standards work as engineering assistant and standards publisher, roles in which she actively supported document preparation for the SMPTE Technology Committees. In these roles, Migliore participated in advancing SMPTE's standards publishing process from typewriter to CD-ROM to PDF and the digital library.

The Citation for Outstanding Service to the Society, which recognizes individuals for dedicated service for the betterment of the Society over a sustained period, will be conferred upon four SMPTE Members:

Merrick Ackermans, for his contributions to and leadership of the Atlanta Section and the Southern Region. A long-time contributor to the Atlanta Section and four-term governor of the Southern Region, Ackermans has devoted much time and effort to producing quality Section events. His extensive involvement has included participation in everything from proposing engaging topics, securing speakers, and organizing facility and audio-visual logistics to contributing his knowledge as a speaker and facilitator.

Herbert Jay Dunmore, for his contributions as Member and manager of the Washington DC SMPTE Section and as the Student Chapter advisor of the Loyola University Maryland Chapter since its founding in 2012. Dunmore has continually promoted learning between the Student Chapter and the Section through hosting an annual meeting and seminars, exposing future professionals to the creative, business, and technical realms of television production.

John Walsh, for his dedication and service to the SMPTE Australia Section over the past decade. Walsh has served on the board of the SMPTE Australia Section since 2005, taking on the additional roles of membership chair and Section meeting lead. He has also been an active member of the organizing committee for the biennial SMPTE Australia Section conferences. Walsh is a dedicated Section member, always working behind the scenes to ensure the success of the Australia Section meetings.

David Wheeler, for his many contributions to the Australia Section, especially the SMPTE Australia Conferences. Wheeler was a member of the Conference Papers Committee for the SMPTE 2013 Australia Conference and served as chair of that committee for the 2015 event with 16 sessions and 52 presentations spanning four days.

The Louis F. Wolf Jr. Memorial Scholarship is designed to assist students in furthering their undergraduate or graduate studies in motion pictures and television, with an emphasis on technology. The 2017 scholarship will be awarded to three SMPTE Student Members:

  • Trevor Canham, Rochester Institute of Technology
  • Emily Faw, Rochester Institute of Technology
  • Catherine Marie Meininger, Rochester Institute of Technology

Twelve new SMPTE Fellows also will be recognized during the Annual Awards Gala. The 2017 SMPTE Fellows announcement is forthcoming.