Pixel Farm’s software aids in the recovery of film that has been scanned that has lots of dirt or other imperfections. The software can automatically or manuel aid in removing the image defects.

“There are limitation with shooting,” said Michael Guncheon of HDVideoPro/HDMG, offering a look at HD SLR cameras during the HPA Tech Retreat. Among the limitations that he outlined:

–exposure (i.e. frame rate vs. shutter angle)
–image settings (i.e. it is not a RAW file)
–audio (i.e. no monitoring)
–record time (memory card limitations; heat can cause problems)
–monitoring (inconsistent output)
–ergonomics (rigs are being built)
–rolling shutter (suggested software from The Foundry addresses this issue)
–aliasing

Sony’s new OLED reference monitors offer full HD resolution OLED panels with 10-bit drivers, as well as a newly developed display engine.

The RadiantGrid platform allows for content adjustment that uses the GPU for 3:2 pull down, noise and grain reduction. While the CPU takes care of faster than real-time transcoding.

Lightcraft Technology has developed a solution that allows camera movements during a green screen session to be captured. The camera movements are then translated to movements in the CG rendered background that is keyed in on the video. If the camera zooms out, the CG background zooms out in relation to mimic real world relationships between the background and foreground.

Kerner 3D Technologies specializes in making 3D camera rigs that are quick and easy to set up. Their camera rigs can ship and be set up on location in 10 minutes or less.

JVC Professional Products is demonstrating their new line of 3d projectors geared towards post production. The 3D projector can also be calibrated and adjusted via a SpectraCal software interface.

S.two manufactures camera mounted recording devices and all the software/hardware in the workflow to process the captured data.

Spectrum reallocation, electronic file delivery, Mobile DTV and 3D were among the topics addressed by broadcasters at the Hollywood Post Alliance Tech Retreat.

NAB’s Art Allison:
–“Media competition is increasing. Broadcasting is still on a roll. … I think the terrestrial channel is here to stay. Multicasting is increasing. Mobile DTV has great promise. File downloads are appealing.”
–Developments: Work on advance codecs for more efficient compression, Internet connectivity, DRM, studying 3D broadcasting

ABC’s Tony Cole:
–Electronic File Delivery: Promos, commercials and PSAs–almost all are now delivered electronically at ABC. Phase two is programs.

Fox’s Jim DeFilippis:
–On 3D: “When the day comes that the (consumer electronics industry) comes up with backward compatible system and an approach within ATSC standards, and we can produce content in an efficient manner, then you will hear about 3D from us.”

Jim Kutzner, PBS:
–Moving to automated file delivery
–Mobile DTV: Three public stations on air; expect 20 more by midyear.

Bob Seidel, CBS:
–On spectrum reallocation: “When you count the total number of broadcasters, the spectrum is really fully utilized”
–Alternative delivery platforms: “Provided we can authenticate the audience, we are willing to make the content available.”

“The number of players delivering movies is enormous,” said Microsoft’s Richard Doherty, who moderated a panel titled Consumer Delivery: Mayhem. “However the services differ.”
Panelists shared their strategies and views:

Morgan Fiumi, Deluxe Digital Studios:
–“People have underestimated the complexity of getting the assets organized. … A lot of the assets need to be prepared for delivery”
–“We have added some services that enable metadata to be searchable”

Brad Collar, Warner Bros.:
–From a tech POV, we have two buckets: Core video assets and interactivity. On the core asset side, we developed an internal system (with a) mezzanine format in a digital vault. On the navigation side, sub buckets include operation using a touch interface and a mouse.
–Codecs? “H.264 is very efficient, but it is so fragmented out there.”
–“Settled internally on about 12 file formats for metadata. There are discussions about standards”

Ellen Goodridge, Sony Pictures Entertainment:
–“Without standards, it is really hard to scale. In the last couple years, it has become even more complex. The logistics of sending mezzanine files in different specs can be very complicated and cause a lot of stoppages in the overall supply chain. We think UltraViolet is a really great long-term fix for the supply chain.”
–We want consumers to want own (their content). We have to get (quality) right to grow this business.

Chuck Parker, Technicolor:
–“We try to encourage our customers to standardize (codecs) as much as possible”
–Do consumers care about quality? “My view is consumers have an expectation of less that DVD quality.”
–“Contextual metadata is the next frontier in this space”