LAS VEGAS — The schedule for the Creative Master Series sessions has been announced and there are a number of session that post production pros might find relevant.
The following is a listing of several post-themed sessions:
Monday, April 16
Room S222 South Hall
12:15 - 1:15
Titanic to 3D: 279,360 Frames
Converting "Titanic" from 2D to 3D was an artistically demanding, detailed and painstaking process that involved recreating each of the motion picture's 279,360 frames in the filmmaker’s stereoscopic vision. Lightstorm and Stereo D brought together more than 450 people who worked for 60 weeks to make the highest quality conversion possible and meet the April day-and-date release schedule. Go behind the scenes with the filmmakers and learn about the challenges they faced creating a 3D experience for one of the most successful feature films of all times.
Moderator, Rob Legato
Jon Landau, Producer, "Avatar," "Titanic"
William Sherak, President of Stereo D, "Titanic" (3D version) "Captain America"
1:30 - 2:30 PM
Room S220 South Hall
The Brave New World of Filmmaking with Digital Technologies, Produced in Partnership with AMPAS
From 4K and high frame rate acquisition, to production design with 3D software, from virtual shot choreography and compositing, to fully functional, immersive CG sets, new digital techniques are transforming the art and craft of filmmaking. They are opening the doors to new forms of storytelling, upending historical ways of doing things and altering how department heads collaborate. Join leading filmmakers from the Academy of Motion Pictures Arts & Sciences Cinematographers, Art Directors and Visual Effects Branches as they look at the benefits and challenges of creating motion pictures with new digital technologies, showing clips and citing their work on some of Hollywood’s most honored and revolutionary projects.
Scott Farrar, visual effects supervisor "Transformers: Dark of the Moon," "Minority Report"
Rick Carter, production designer "Avatar," "War Horse
Caleb Deschanel, ASC, director of photography ("Spiderwick Chronicles," "National Treasure")
12:00 - 1:00 PM
Room S220 South Hall
“The Hunger Games”
“The Hunger Games” is born out of an unusual collaborative process. To tell the story of heroine Katniss' transformation from a pawn in a lethal televised contest into a soulful, sacrificing heroine, the sound and picture teams worked side-by-side with director Gary Ross beginning in previs, through production, all the way to the final mix. In fact, Ross and key department heads moved offices into the same building in which Soundelux is housed for postproduction. Learn how the film's artists joined forces to realize Ross’s retro-futuristic vision, to immerse the audience in Katniss' intimate POV and to create a believable futuristic world that is at once high-tech and apocalyptic, glitzy and primal and a telltale mirror to our own
Bill Dean, sound designer "The Hunger Games"; co-supervising sound editor "Abduction"
Lon Bender, sound designer/supervisor "The Hunger Games," "Drive"
Additional speakers TBD
Tuesday April 17
2:00 - 3:00 PM
Room S220 South Hall
"The Walking Dead": Creating A Thinking Person's Zombie Drama
Frightening, fun and upsetting, “The Walking Dead” is a melding of horror, pop and high drama. How do the filmmakers satisfy fans seeking a weekly jolt of intensity, yet sustain a thrill ride throughout the season? How do they transform the comic books into narratives with cinematic character arcs? How do they use cinematography, practical and visual effects, music and editing to build tension and produce maximum payoff? Join “The Walking Dead” filmmakers as they discuss the process of creating basic cable’s most successful adult series (18-49).N/A
moderator: Brian Lowry, chief TV critic, Variety
Dave Alpert, executive producer, "The Walking Dead"
Glen Mazzara, showrunner/writer, "The Walking Dead"
Robert Kirkman, executive producer/writer, "The Walking Dead"
Gale Anne Hurd, executive producer, "The Walking Dead"
3:15 - 4:15 PM
Room S220 South Hall
Workflows for Features and Television
Shooting digitally requires designing a workflow and selecting a color management system that is appropriate for the project. This is especially the case in a world where postproduction is moving onto the set and critical decisions about the final look and feel are being made earlier in the process. An examination of four feature and television projects and their workflows, with a focus on Sony’s F65 16-bit 4K resolution using IIF-ACES, ARRI Alexa’s look management system, repeatable looks, on- and near-set dailies and more. Learn how the filmmakers’ choices met the demands of the script and the production and helped realize the director’s and cinematographer’s vision.
Steve Barnett, VP, post-production, Fox Studios, "Avatar," "Sideways"
Curtis Clark, ASC, director/director of photography, "Valley of Fire," "The Arrival"
Michael Cioni, CEO, Light Iron Digital ("The Amazing Spider-Man," "Criminal Minds")
Pankaj Bajpai, colorist, Encore ("Justified," "Revenge")
Bryan Raber, associate producer "Longmire," "Dallas"
4:30 - 5:30 PM
Room S220 South Hall
Creating Cross-Platform Content: An Inside Look at Integrated Advertising Production
While content produced for broadcast commercials is increasingly living on marketers’ web sites, the linear environment of TV remains vastly different from the interactive world of computers, mobile devices and tablets. Producing advertising simultaneously for diverse screens and engagement opportunities alters everything from how it’s conceived and scripted to how it’s shot, edited, finished and distributed. It also impacts workflows for agencies, production companies, creative editorial and post houses. Join senior agency creatives and producers and executives from top integrated production companies as they examine the challenges of creating advertising content for today’s cross-platform world.
Nick Felder, Group Director, Film & Music Production, Global/Corporate Divisions, Coca-Cola
Dustin Callif, Executive Producer, Tool of North America, Sears Craftsman "Screw*d Interactive Reality Series," Interscope Records/Ellie Goulding" Lights," WebGL Interactive Music Experience
Mathew Cullen, Chief Creative Officer and Co-founder, Mirada
Jason Sperling, SVP, group creative director, RPA (Honda and Acura Advertising)
Wednesday, April 18
10:00 - 11:00 AM
Room S220 South Hall
Editing Collaboratively in the New World of Postproduction
Digital technologies have made it easier for editors to do it all themselves, but they have also opened the door to deeper collaboration, even across long distances. Aesthetics, technical and political challenges have followed suit. Join several top editors as they examine the impact of team editing on everything from the first cut, to character and story development, from tool selection--both local and cloud-based--to workflows. Hear their real-world experiences about the benefits and challenges of working with directors, producers and fellow editors, whether they be down the hall or on another continent.
Kevin Tent, A.C.E., editor, "The Descendants," "Sideways"
Hunter M. Via, A.C.E., picture editor, "The Walking Dead," "The Mist"
Torbin Xan Bullock, supervising editor "CarsToons/Mater's Tall Tales," 2nd editor, "Brave"
11:15 - 12:15 PM
Room S220 South Hall
100% INDIE: WHO NEEDS A GREEN LIGHT?
Why wait years for a studio green light when it is possible to create and distribute your own movie on a shoestring budget? Join three accomplished indie filmmakers who responded to that question by taking the entire filmmaking process--the business, artistry and technology--into their own hands for 100% independence. Hear how they raised funds through crowdsourcing and other new business models, customized their personal cameras instead of renting expensive packages, combined careful production planning with spontaneity (capturing key shots on the fly), and reached worldwide audiences by marketing their projects on Facebook and Twitter.
Effie Brown, producer "Real Women Have Curves," "In the Cut"
Evan Glodell, Actor/Writer/Director/Editor/ Producer, "Bellflower"
Mark Polish, Actor/Writer/Producer, "For Lovers Only," "Twin Falls Idaho"
Nick Lewis, Co-Director, "Rise and Shine: The Jay Demerit Story"
2:30 - 3:30 PM
Room S220 South Hall
High Octane Filmmaking with the Bandito Brothers
Scott Waugh and Mike McCoy (AKA Mouse) tap the arsenal of skills they developed as filmmakers, stuntmen and actors to tell visceral, action-packed stories. Whether capturing the heat of a battle from an assault weapon sightline or a grueling car race from a driver’s careening POV, Waugh and McCoy never fail to push the limits with their creative spontaneity and technical ingenuity. Hear how the filmmakers applied their self-styled ethos to making “Act of Valor,” which was filmed with 15 DLSR cameras and to “Dust to Glory,” for which they deployed 55 cameras, four helicopters and a high-speed, off-road camera car. Learn how they trained their live event expertise on staging and broadcasting a world record-breaking stunt for Hot Wheels (based on their update of the product mythology).
Dan Restuccio, West Coast Editor, Post Magazine, moderator
Scott Waugh, CEO & Creative Director, Bandito Brothers, "Act of Valor," "Step into Liquid"
Mouse McCoy, Co-Founder & Director, Bandito Bros., "Act of Valor," "Dust to Glory"