April 7 - 12, 2018 | Exhibits April 9 - 12 Las Vegas Convention Center

Film

Film

Film

Filmmaking and The M.E.T. Effect℠

Storytelling in a digital age.

Filmmaking has championed some of the most breakthrough technologies in visual arts, from virtual reality, hi-def 3D, and CGI to the use of digital cameras, drones and mobile phones. The future of filmmaking is full of opportunity with the explosion of online platforms, software advancements and evolving the art of storytelling. 

Join the Directors, Producers, Cinematographers, Designers, Technicians and Editors pushing the limits of what's possible, and transcending once fictional innovations that are now real-world tools in media and entertainment.

From the Floor to the Session Rooms, explore this year's offerings below.

Attractions and Pavilions

Programs of Interest

Go behind the scenes with the creatives and crew responsible for today’s most innovative and tweeted motion pictures and TV series. Learn how the filmmakers designed game changing looks on set and in post and developed signature sounds for an entire franchise. Hear about the latest VFX innovations and about workflows that enabled subtle and intricate color management. Understand how filmmakers are exploring new ways to tell stories for Twenty-First Century audiences. Learn More

Spotlight Sessions

In this session you will learn strategies to successfully plan, design, and execute your own independent film or production crowdfunding campaign. Filmmaker Kelley Slagle leads you through best practices, shares practical advice and personal insights, and highlights success stories that will help you to meet your crowdfunding goals, whether you use Kickstarter, Indiegogo, or another platform. Topics include reaching your audience before the campaign even starts, making a campaign budget, designing a campaign video and visuals, choosing and creating rewards, and following through after your campaign ends.

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There are 3 ways to improve a video picture, independent of resolution: HDR – High Dynamic Range: Blacker Blacks, whiter whites, expanded mid tones. WCG – Wide Color Gamut: Rec 2020 & DCI-P3. Wider Range and better color. HFR – High Frame Rate: Mostly 24 FPS cinema, but also higher than 60Hz for UHD. This presentation will cover topics: Why HDR? What is HDR? HDR Standards for UHD and HD History of Dynamic Range Human Visual System TV Screen Brightness HDR for HD Transfer Curves Issues with SDR compatibility.

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In the summer of 2014, a crew of first-time film makers shot a sci-fi feature in Iceland. Some had production experience, others were raw beginners. All learned a lot about the process of making feature films. Doug will share key lessons he learned learned from pre-production, principal photography, post-production and paperwork; lots of paperwork.

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With its spectacular battles, giant dragons, reverberating hugs, and death winnowing storylines, season 6 of "Game of Thrones" ratcheted up the tension and raised anticipation for an eventual, epic series conclusion. The season was shot simultaneously by director/ cinematographer pairs rotating between stage and location (as is the custom), spotlighted a cast of hundreds and featured nearly 1900 visual effects shots. Learn how the filmmakers applied the "Game of Thrones'" naturalistic lighting style to new locations and storylines, how they chose to block and edit the emotional turning points, and how they harnessed postproduction to visually unify the footage. Learn how they blended practical photography with CG to create rule breaking yet believable scenes and how postproduction mastered for distribution worldwide. See some great footage and understand why, in 2016, Game of Thrones drew an amazing 25.1 million viewers across all major platforms.

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"Ghost in the Shell" is a sci-fi thriller about cyber-enhanced soldier, Major (Scarlett Johansson), her battles against hacker terrorists and her hunt for her stolen identity and its perpetrators. Combining artistry with cutting edge innovation, the filmmakers used light, movement, composition, visual effects, three-dimensionality and color to build the movie's near-future, computer dominated universe. They designed unique tools and systems, including an original, anime inspired 28-color palette; custom LED lights; a video-photogrammetry rig for 3D video inserts; and a DCI P3 workflow from camera through color finishing and deliverables. See clips and hear stories about the making of this visually groundbreaking motion picture based on the original Japanese manga.

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Computer simulations are becoming so accurate that it is hard for even the most seasoned pros to tell the difference between the effect and the real thing. So once you have produced something that doesn't appear to be artificially assisted, when is it no longer considered an effect and just filmmaking? In this presentation, Rob Legato explores whether there is really a distinction between visual effects and 'traditional' cinematic disciplines, such as direction, cinematography, production design.

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Lighting and Texturing go hand in hand when creating the look of our 3D objects. In this session, we will see various tips and techniques, that will allow you to Texture and Light your objects better and faster. From traditional "3 point lighting", light and ray inclusions and exclusions, shadows and samples, Ambient Occlusion and "how to never use Sub Surface Scattering again", and how to light without lights… all will be covered in this intense session.

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Join Hank Azaria, Executive Producer and Star of IFC's Brockmire, with co-star Amanda Peet and IFC President Jennifer Caserta as they discuss the making of the critically acclaimed new series. Azaria stars as title character Jim Brockmire, a famed major league baseball announcer who had an epic public meltdown on the air sparked by his wife's infidelity and, 10 years later, takes a job calling minor league baseball games in an effort to reclaim his career and his life. Our guests will share the story of how this series began as a short viral video on Funny Or Die and discuss what it takes to bring a series from concept to completion, as well IFC's commitment to delivering 'slightly off,' unexpected comedies. Brockmire premieres Wednesday, April 5 at 10PM on IFC and airs weekly.

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Stereo audio in cinema was demonstrated in the mid-1930's and a variety of stereo and multi-channel formats were utilized beginning in the 1950's, although most movies were released with a mono soundtrack. Dolby Stereo debuted in 1975, followed 17 years later by Dolby Digital 5.1. When Digital Cinema launched in the early 2000's it utilized a discrete 5.1 mix. Several years later 7.1 was added as a format, and in 2012 Dolby Atmos immersive audio began to be deployed in cinemas around the world. Barco AuroMax and DTS:X have entered the market as alternative immersive audio solutions. How do audio mixers create content that serves this diverse exhibition environment and what does the future hold?

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IMF, or Interoperable Master Format, has come a long way since its inception in a studio conference room nearly a decade ago. A spec, something resembling a standard, but is it really? This presentation and fireside chat between industry colleagues involved from the beginning will revolve around where the industry finds itself in relation to the format, how far we've come, and recent testing designed to make IMF the standard it promises to be.

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Lasers in cinema, quantum dots in the home: with this evolving technology, how can we possibly maintain consistent imagery? With hundreds of display and projection capabilities in the market today, and more coming soon, what is being done to compensate for these differences? In this session we will dive into the future of display and projection technology to see what excitement and challenges await us.

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Light field, volumetric capture, computational photography and generative imaging have the potential to transform image making for all forms of content, including feature films, TV, video games, VR, MR and AR. Already, they are contributing to the blurring lines between live action and computer-generated imaging, and between what takes place in preproduction, production and post. What is science behind these new technologies and how do they work? What are their current limitations and promise? Who is actually using them now, and for what kinds of projects? How might they alter not only how we create images for scripts, but also the foundation of image authorship? 

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Andy and James are pioneering VR filmmakers and content creators, who will share their experience in bringing creative concepts into Virtual Reality. Topics include how Andy and Mirada worked with USA Today to create their series Virtually There, which introduced a new advertising format, the "cubemercial", based around the possibilities of the medium. James Markham Hall, presents his award-winning series, "American Ghost Towns" and shares his tips and tricks for cinematic 360 documentary filmmaking.

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A panel discussion between astronauts, filmmakers, and technology leaders takes you behind the scenes of the advanced video and cloud workflows that power deep space research, create the foundation for space commerce, and ignite our imagination about the future. 

Produced in partnership with Amazon Web Services, Elemental, an Amazon Web Services company, and NASA

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For such a small camera, there's a surprising amount of things you can make with a GoPro. In this course will explore using a GoPro HERO and Session to capture stills, video, or even time-lapse photography. You'll also learn how to mount the camera in several environments and even remotely control and monitor the camera.

In this class we'll cover many cool project ideas on things you can create. Join GoPro expert Rich Harrington as he shows you how to get creative angles and unusual video with a GoPro as well as how to enhance the files for use in all post-production. You'll learn how to optimize the media, work with different codecs, and remove wide-angle distortion as well.

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Nick Bicanic, Director and Founder of RVLVR, describes his approach to storytelling in 360 Video. A pioneer in 360/VR filmmaking, he explains the recent evolution of the technology, and the impact it is having on content creation. He goes through the implications on directing and editing and distribution – and the requirement for a director in VR to be far more technologically savvy than ever before. In effect the nature of the medium is that storytellers must become part UX specialists, part directors, part editors.
Nick Bicanic is a filmmaker and a technologist who mixes left brain and right brain stuff on an ongoing basis. He has produced numerous 360/VR milestone productions, from filming Barack Obama's first visit to Cuba in 360°, to producing a 360° companion piece for NBC's Blindspot season 2 Premiere. 
He is a serial entrepreneur and is considered one of the best Mobile Product visionaries in Silicon Valley. He has raised money from Silicon Valley luminaries including Google Ventures and has 20 years of experience running multiple teams developing complex client-server applications and processes on mobile and cloud based platforms.
He also wrote, directed and produced the 4 time LEO award winning documentary "Shadow Company" - a unique insight into the secret world of modern day soldiers for hire and produced "The War Against Boko Haram" for VICE News and published his first book - "Executive Outcomes" - a graphic novel based on his script of the same name.

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Not only did Industrial Light & Magic create the visual effects for "Rogue One: A Star Wars Story," its chief creative officer, John Knoll, developed the film's concept and original story. Rogue One features more than 1700 visual effects shots, including a fleet of new starships, a digitally recreated central character (Grand Moff Tarkin), and a quintessential, third act space battle. In addition to the new spaceships, there are fresh weapons and Droids for which Skywalker Sound designed distinctive, original sounds. Learn how ILM and Skywalker Sound balanced the new with the classic through such technical innovations as virtual production, their proprietary "Flux" software, an innovative production pipeline and more. See some great behind the scenes footage and glimpse how sound and visual effects worked together to produce another box-office hit for Lucasfilm. 

Produced in partnership with Motion Picture Sound Editors (MPSE)

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Cisco is forecasting that 78% of all mobile data in 2021 will be video, as a perfect storm of high-quality mobile-first video apps, proliferating smartphone usage, faster wireless networks and expansive mobile data plans are fueling massive adoption of mobile video. What does all of this mean for the video ecosystem and how will video providers succeed in the when everyone has a personal TV in their pocket?

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A drastic evolution of public mobile network enables even a smartphone to plays a crucial role for the mobile news gathering. In addition, an appearance of a drone further accelerates the mobility at shooting. In such a situation, a use of ancillary information items such as those obtained from the GPS unit and/or a gyro sensor attached to a camera during acquisition has become a common practice and various proprietary solutions have been spreading. Now, the time has come when to seriously consider its interoperability to maximize synergy effects among products from multiple vendors. There are activities ongoing in SMPTE for it. A SMPTE UMID (Unique Material IDentifier) attached to each frame in a live media stream is evolving to describe not only "When/Where/Who has created each frame" but also its camera shooting direction (including 360 degrees view) for the frame even over the IP network. In addition, A SMPTE MXF (Material eXchange Format) file is also evolving to embrace the latest media compression technology or, H.265/HEVC, for the best use of the mobile network resources, together with the ancillary info per frame contained in the file. In this paper, the latest SMPTE activities to maximize the interoperability in mobile news gathering are introduced with an emphasis on their future-proof applications.

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"Logan's" editorial team -- the editors, assistant editor and VFX editor-- take a deep dive into how they collaborated with the director and each other to tell this darkly dramatic and action-packed Wolverine story. Using illustrative clips, the editors will explain how they communicated "Logan's" complex plot lines, how they selected what to show and not in the film's often-brutal battle scenes, how they shaped the eruption of Logan's character (his years of guilt, sadness, shame and anger), and much more. End up understanding how the editing process helped "Logan" became a critical hit, plus the highest-grossing film, worldwide, in the Wolverine franchise.

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You have the right UAV, you have all the permits and are following all the regulations. You are ready to fly!

Learn how to optimize your field production time and build a plan to assure you capture the required shots. Following this unique, guaranteed "recipe" of shot styles, you will be able to convey your story and clearly communicate your message, having everything needed for complete aerial storytelling and adding to ground footage.

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Tripp and Jenna Watt of ENTROPY spent the summer of 2016 directing and shooting a VR travel series on the small Indonesian island of Lombok for Discovery. Come hear the secrets to "shooting on the fly" with VR gear and learn from our infinite number of mistakes that left us almost stranded, drowned and lost at sea. We'll cover what cameras work for which scenarios (OZO vs Gopros vs Samsung, etc) moving the camera, underwater shots and how to bring it all together into something worth watching. 
Filmmaking duo Tripp and Jenna Watt are the co-founders and creative directors of ENTROPY- a VR studio focusing on bold, original content. In 2015, they created their first short in VR. The film later screened at the 2016 Sundance Film Festival and established the duo as pioneers in VR storytelling. ENTROPY's most recent 10 part VR travel series was picked up by Discovery China and they are currently in development on an interactive VR thriller series. www.entropycreative.com

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Millions of Virtual Reality and Augmented Reality (VR/AR) devices have been viewed by 10's of millions of eyeballs for 10's of millions of hours, with many predicting it will be a $20 billion mainstream industry by 2020. The technology is creating experiences so revolutionary, it's fundamentally changing the way we think about many creative, production, post-production, and distribution activities. In this session, we'll discuss experiences of filmmakers starting to create VR/AR content. And we'll give you a brief introduction to Artificial Intelligence and Deep Learning and talk about how these cutting-edge fields of innovation may be able to help overcome some of the biggest challenges presented by these rapidly developing new platforms, among others.

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