ETC program director Erik Weaver introduced a live Equinix/ETC@USC webinar on “The Future of Media & Entertainment in a Time of Radical Change.” The opening keynote address on cloud workflows, moderated by film/TV media workflow engineer Michael Kammes, featured Microsoft Azure chief technology officer of media & entertainment Hanno Basse and Avid chief executive & president Jeff Rosica. Kammes opened the conversation by asking Basse and Rosica to describe how their companies are experiencing the move into the cloud. Continue reading Pandemic Hastens M&E Industry Adoption of Cloud Workflows

As the world turns its sights on the “new normal,” the future of the media and entertainment industry is starting to come into focus. Cloud-based everything. Internet of Production. Digital distribution. Automation. Truth is, most of these changes were already in progress. It’s the timeline that has been dramatically shortened: 5-year plans now have to be implemented in 5 months. And among the handful of technologies being fast-tracked, artificial intelligence holds a special place because of its ability to solve two of the industry’s most pressing post-COVID challenges: (1) how to better manage its inherent product risk, and (2) protect and optimize its precious financial, human and technological resources. Continue reading The State of AI in Media & Entertainment: Pedal to the Metal

Adobe issued a workflow guide for content creators producing short-form video for the new Quibi app for mobile devices. The guide offers a step-by-step process via its Premiere Pro production platform, outlining technical specs for deliverables and use of the machine-learning-powered Auto Reframe feature to streamline creation of both horizontal and vertical versions. Quibi co-founder Jeffrey Katzenberg also stated that, in May, some Quibi users will be able to cast the service from phones to their TVs. Continue reading Adobe Publishes Workflow Guide for Quibi Content Creators

The Academy Software Foundation (ASWF), developed by the Academy of Motion Pictures Arts and Sciences and the Linux Foundation to provide a neutral forum for open source software developers, announced that its sixth hosted project is Open Shading Language (OSL), originally developed by Sony Pictures Imageworks. OSL, which was honored with an Academy Scientific and Technical Award in 2017, is now the de facto standard shading language for VFX and animation. ASWF also stated that AMD and DockYard have joined as new members. Continue reading ASWF Announces Its Next Project: Open Shading Language

Media & Entertainment have been deeply affected by current events. Increased streaming demands and unprecedented stress on infrastructure have forced media companies to quickly adapt and accelerate their digital transformation, yet the future remains uncertain. How will this unprecedented crisis affect content product and distribution? Who will be the winners and losers in the aftermath? What technologies will move to the forefront? Join Equinix and the Entertainment Technology Center on Thursday, April 30 for an insightful and provocative conversation with an array of thought leaders as we explore the future and its opportunities. Continue reading Virtual Event: The Future of M&E in a Time of Radical Change

The coronavirus is hitting the National Association of Theatre Owners particularly hard, as local governments close movie theaters and consumers turn to streaming services. Regal Cinemas announced it is closing all its theaters, effective today, until further notice. Meanwhile, studios are reconsidering the exclusive 90-day window for theatrical exhibition. Universal Pictures is the the first major studio to announce a change to the traditional model. “We hope and believe that people will still go to the movies in theaters where available, but we understand that for people in different areas of the world that is increasingly becoming less possible,” said NBCUniversal CEO Jeff Shell. Continue reading Theaters Hit Hard by Coronavirus as Streamers Reap Rewards

Hollywood, digital media and technology are among the growing number of industries being impacted by the coronavirus. As the virus continues to spread globally, a range of business sectors are feeling the effects, including media production, movie theaters, theme parks, touring performers, music acts and consumer electronics. In addition, major tech conferences such as Google I/O, Facebook’s F8, Adobe Summit and Mobile World Congress in Barcelona have been canceled, representing about $500 million so far in lost revenue for airlines, hotels, restaurants, and related businesses. China’s film industry has lost close to an estimated $2 billion in box office grosses since its theaters closed earlier this year. Continue reading Tech and Media Industries Feeling Impact of the Coronavirus

Like any movie franchise installment, Universal Pictures’ “Fast & Furious 8” (also known as “The Fate of the Furious”) relied on footage and data from the sequels that were produced before it. This movie was the proof of concept for Production 3.0, a new platform enabling quick access to assets like 3D VFX models for use in sequels, as well as theme park and AR/VR experiences.“Our production asset archive isn’t organized enough and doesn’t hold all production assets,” said Universal VP of creative technologies Annie Chang, who headed the team that developed it. Continue reading HPA Tech Retreat: Universal Unveils New Production Workflow

Under the aegis of the Academy of Motion Picture Arts and Sciences, hundreds of motion picture and TV technologists created ACES (Academy Color Encoding System), a color management system to enable color decisions to be successfully retained throughout the workflow. Since ACES debuted in 2014, the system has achieved SMPTE standardization and continues to evolve, under the leadership of chair Annie Chang and vice chairs Rod Bogart and Joachim “JZ” Zell. Chang listed some recent updates found in ACES 1.2. Continue reading HPA Tech Retreat: Academy Color Encoding System Updates

The Digital Production Partnership (DPP) is a London-based media industry business network, with a membership of 400+ companies representing the entire content supply chain. Eighteen months ago, the DPP issued the Production Business Survey report, detailing the operations of 57 production companies vis-à-vis the cloud. What it found was discouraging, so the DPP set its sights on another survey on Next Generation Production. At the HPA Tech Retreat, managing director Mark Harrison presented the findings. Continue reading HPA Tech Retreat: The DPP’s Report on Next Gen Production

The HPA Tech Retreat kicked off with an ambitious daylong demo that highlighted innovations in content creation, management and distribution technology and workflows. Supersession chair Joachim Zell, VP technology for EFILM walked the audience through numerous elements of an HDR production: filming, editing and finishing two scenes that provided the final chapters for a short film. The process, much of which involved workflows in the cloud, featured multiple cameras, on-set management and collaboration platforms, editorial, dailies and digital intermediate color grading systems, as well as online mastering and distribution platforms. Continue reading HPA Tech Retreat: The Latest Workflows for Virtual Production

The ETC team found two interesting object detection startups at CES’s Eureka Park: Italian company ARIA Sensing, which claims to manufacture “the world’s smallest UWB [Ultra-Wideband] radar” for offering “unparalleled detection performances” — and French startup Ingenious Things, which is promoting what it describes as “the first IoT tracker for less than $1.” ARIA Sensing has developed a 13mm x 15mm postage stamp size chip that is able to detect small movements, gestures and even breathing at distances up to 10 meters. The $1 Stick Trackr by Ingenious Things is less than 5mm thick and can operate for up to three months before it needs a new battery. Continue reading CES 2020: Two Startups Debut Object Detection Solutions

After years of development, direct-to-consumer streaming is poised to actively provide new choices for how the world consumes entertainment content. While it started as a response to the one-size-fits-all model offered by cable companies, it now offers choice of separate walled gardens, each with a different gate. Aggregators in the streaming space are quickly bulking up to what traditional providers charge based on the cost of channel acquisition. To some consumers this will seem like déjà vu. Others will choose carefully among the direct offerings to customize the content entering their world.  Continue reading CES: Streaming Digital Citizenship as a Societal Experiment

It’s almost a new year and a whole new crop of technology is about to introduce a phase change into our collective psyche. It’s time to reflect before we dive into the shameless and enthusiastic possibilities it portends. Let’s take a moment to muse about our new realities. With 5G no doubt to be pervasive at CES 2020 next month, some of the new effects of the streaming marketplace will soon be apparent to the consumer. As each entertainment giant introduces new streaming services at what appears to be astounding value, when cobbled together they increasingly grow to approximate a consumer’s old aggregated service bill from a cable provider.  Continue reading CES: Anticipating New Era of Streaming Digital Citizenship

“The Mandalorian,” one of the original exclusive shows on Disney+, follows a mysterious bounty hunter who takes on secretive jobs after the fall of the Empire. Recent data reveals that the show was the third most “in demand” digital original show since its debut. Epic Games is listed in the show’s end credits because series creator Jon Favreau used it in his production process. Epic Games’ Unreal Engine is a popular platform for creating games, such as “Fortnite,” but it’s now being used in more Hollywood productions. Continue reading ‘The Mandalorian’ Uses Epic’s Unreal Engine for Production