White Plains, N.Y. (PRWEB) August 28, 2013 The Society of Motion Picture and Television Engineers (SMPTE), the worldwide leader in motion-imaging standards and education for the communications, media, entertainment, and technology industries,...
The Society of Motion Picture and Television Engineers (SMPTE), the worldwide leader in motion-imaging standards and education for the communications, media, entertainment, and technology industries, today announced that Thomas Gewecke, chief...
Google has released and is shipping a new device called Chromecast, which is designed to take video from your mobile devices — such as an iPhone, iPad, Android tablet or phone or PC/Mac laptop — and send it directly to your TV.
The Society of Motion Picture and Television Engineers (SMPTE) has extended the call for papers deadline to July 19 for its SMPTE 2013 Annual Technical Conference & Exhibition. The event, which runs from October 22 to October 24 in Hollywood, California, will now include a preconference symposium for October 21 on the topic of "Next-Gen Image Formats: More, Better, or Faster Pixels?"
The recently formed Society of Motion Picture & Television Engineers India Section held its first session in Mumbai last month to promote its new set of standards for digital cinema. The session also served as a recruitment drive to increase membership numbers. Approximately 150 industry professionals, including filmmakers, camera operators and DPs attended the event. Ujwal Nirgudkar, chair of SMPTE India Section, hosted the evening with special guest, Barbara Lange, executive director of SMPTE.
“One of our primary roles in India is to educate the industry about the importance of standards,” said Nirgudkar. “In particular, we want to see the new SMPTE standards for digital cinema applied to all cinemas where digital projectors and digital audio are in use. It makes a huge difference to the quality of the cinema experience when the equipment is properly installed and regularly calibrated. When customers pay good money, it’s right that they see the best quality pictures and hear the audio as the director originally intended.”
Lange spoke about SMPTE’s potential in India. “India has the fantastic confluence of a strong film industry, generating more than 1200 films per year, together with a strong IT sector,” she said. “Both of these industries converge in the SMPTE world today given that so much is now being handled digitally. For this reason, I am very excited about the opportunity for SMPTE in India. I am looking forward to having more Members in India, but also a greater participation within our standards development program and papers presented at SMPTE events and in our journal. It will take a little while to gain traction, but I'm confident that the local team is well on the way to grow this into one of our largest Sections within SMPTE.”
Also at the session, membership to SMPTE was encouraged as a means of keeping up to date with technology developments and as a platform for social interaction with other industry members. The India Section currently has around 60 signed up members and is hoping to increase this to 1,000 over the next five years.
The US digital TV and movie streaming audience is growing even faster than anticipated, according to a new eMarketer report.
Content providers experiment to attract more viewers
US digital TV and movie content audiences will grow faster than previously expected due to increased viewing on tablets and smartphones, a wave of internet-enabled TVs, and greater content availability, according to a new eMarketer report, “Digital TV and Movie Streaming: A Rising Tide of Devices, Content and Viewing.”
The number of US digital TV viewers will reach 145.3 million in 2017, up from 106.2 million in 2012, according to eMarketer. The February 2013 figures represent increases ranging from 5.3% to 9.3% more than the corresponding figures in its August 2012 forecast. Digital TV viewers will cross a critical tipping point in 2014, surpassing 50% of the US internet user population.
Belkin and Harris Interactive surveyed US internet users on their willingness to replace cable TV with digital media subscriptions and found that 12% strongly agreed with the statement: “I would consider replacing my cable/satellite subscription with a streaming media subscription (e.g., Netflix, Hulu Plus) in 2013.” Another 18% said they somewhat agreed, indicating that a total of 30% of respondents were inclined to at least consider cord-cutting.
As more people in the US watch digital media on a growing range of devices, streaming services are stepping up their competition for subscription and advertising dollars.
Netflix and Redbox are committed to monthly subscription plans, while Hulu offers both fee-based and ad-supported tiers.
Amazon is using a membership plan tied to its Prime loyalty program as well as an a la carte tier, while Apple and Wal-Mart are concentrating on the latter model. Others, such as Sony’s Crackle, are using strictly ad-supported access, and premium pay TV content channels such as HBO, Showtime, ESPN and Viacom are extending access to existing subscribers via authentication models. The monetization strategies vary as much as the content, and so far it seems the market is accommodating all approaches.
Netflix reported US streaming revenues of $2.19 billion for 2012, with moderate growth from quarter to quarter. US DVD revenues totaled $1.14 billion and declined each quarter during this period, highlighting the company’s transition from a packaged-goods model to a streaming business. Paid streaming revenues worldwide also increased, reflecting Netflix’s expansion into Europe, Latin America and the Caribbean.
With hundreds of millions of ad dollars flowing to streaming services, marketers see new opportunities to connect with US customers on digital platforms. Hulu’s published revenue figures for 2012 indicate that the service is making more money from ads than from subscription fees, and network web sites, sports sites and other channels are also capturing ad revenues from the growing streaming audience in the US. Even content that resides behind pay walls can be monetized with ads. As the streaming market continues to grow, so will the potential for advertisers to tap into it.
The full report, “Digital TV and Movie Streaming: A Rising Tide of Devices, Content and Viewing” also answers these key questions:
What are the audience metrics and forecasts for US TV and movie streaming?What are the leading services and their business strategies?How are connected devices, such as tablets, smartphones, set-top boxes, and game consoles, affecting the streaming business?How are streaming services monetizing TV and movie content?What marketing opportunities do streaming services offer?
Although best known for her work in setting global technology standards, Warner Bros.'s Wendy Aylsworth is also a leader in communicating technology's issues to Hollywood's creative side.
In 1971, as 17-year-old Wendy Aylsworth debated majoring in computer engineering, there were few women in the field, and personal computers were rudimentary toys for computer enthusiasts. Bill Gates hadn’t entered Harvard yet, and Steve Jobs’ Apple I wouldn’t debut until 1976.
Aylsworth’s first love had been music and she dreamed of becoming a professional flutist. But the Detroit native did not win either of two slots for flute in the University of Michigan’s performance program, leaving her with the option of music education instead — something she thought she’d tire of over the years.
So the girl who had also excelled in math and science, and whose high school math teacher had taken her under his wing and let her punch programming cards for his “pretty basic” PC — “It didn’t even have a keyboard,” she recalls — signed up for computer programming classes.
Today, Aylsworth, 59, is senior vice president of technology for Warner Bros. Technical Operations and the first woman president of the Society of Motion Picture & Television Engineers (SMPTE).
She is also TVNewsCheck’s 2013 recipient of its annual Women in Technology Leadership Award, which will be presented during the annual National Association of Broadcasters convention at a 6 p.m. ceremony and reception on Tuesday, April 9, in the Las Vegas Convention Center.
Aylsworth’s career has included designing programming at Lockheed so Navy pilots could find enemy submarines — that’s where she met her husband — and working on simulators to train soldiers while at Honeywell.
DISNEYLAND, WB & SMPTE
In 1989, she made the transition from war to entertainment, joining the Walt Disney Co. to manage its software department for theme park rides and to direct engineering efforts for animation.
She arrived at Warner Bros. in 1994 as director of technology in the newly-created feature animation division. Five years later, she moved over to technical operations for the entire company.
Aylsworth is perhaps best known for her work developing the industry’s earliest standards for digital cinema and getting them adopted by the International Standards Organization in 2008. As chair of SMPTE’s D-Cinema Technology Committee, she traveled the world talking to camera operators and cinematographers to get the standards accepted.
“I think it’s one of the cornerstones of my career,” she says of the effort.
Before the new standards, the quality of digital cinema wasn’t as good as that of traditional 35 millimeter film or of high-definition TV, she says. Now, she said, it’s better than both.
More recently, Aylsworth paved the way for Warner Bros.’ release of Peter Jackson’s The Hobbit: An Unexpected Journey by helping thousands of theaters around the world upgrade their projectors to High Frame Rate technology. That allowed them to play the movie at twice the normal frames per second, creating a smoother picture.
“There wasn’t a theater in the world that could do what he [Jackson] wanted to do” before the changes, she said. By the time the movie opened in December 2012, Aylsworth said she had certified 4,000 screens capable of playing it.
Despite the respect she has earned in the industry, there were times over the years when Aylsworth wondered if she should have stuck with music.
She didn’t like the chilly computer labs. And while writing computer programs is a solitary process, “I’m sort of social,” she says.
An epiphany came as she worked at Lockheed, when she realized there was a need for techies who could communicate with the customer (in that case, the Navy).
That’s something Aylsworth excels at, says Amy Pell, who came to know the tech leader when both worked on the 1992 Disney animated film, Aladdin. “She could talk to the artists. She almost was a kind of interpreter between the artists and the technology guys,” Pell says.
Having found her path, Aylsworth headed to the University of Southern California for the credential that would turn her into more manager than programmer.
In 1981, armed with a Master of Science in management sciences (“I call it my M.S., M.S.,” she jokes.), Aylsworth was ready to use her technology background to focus on business and strategic planning.
“And suddenly I was having a really great career. I was having a ball,” she says.
HELP FROM FRIENDS
Aylsworth points to Pell — like her, a woman who pushed against the era’s glass ceilings — as a valued confidante.
Chris Cookson, now president of Sony Pictures Technologies, was another crucial colleague along the way, Aylsworth says. In 1999, Warner Bros. decided to close the feature animation division where Aylsworth worked. Cookson, then chief technology officer of Warner Bros. Entertainment and president of technical operations, decided the company should find a way to keep this “tremendously capable” woman — someone he describes as smart, a good leader and someone with the ability to “cut through the hard-core engineering.”
Academy of Motion Picture Arts and Sciences president Hawk Koch and CEO Dawn Hudson have sent an email to the Academy’s 6,000 members inviting them to a general membership meeting to discuss “the future of the Academy.” The meeting is scheduled to...
The SMPTE and Stanford Entertainment Technology in the Information Age conference June 18-19, 2013 included about 300 attendees interested in all aspects of the critical role that the Internet is playing in the media and entertainment industry. The sessions cover many topics related to connected media. On the first day these included Content Creation for the Internet: New Tools and Cencpts; Flash Forward-How HTML-5 an Canvas Will Become the Next Interactive Screen for Web Media; Future Fiel Formats for Entertainment Media: What are the Tech Trends and Implications for Internet Distribution?; Gaming, Entertainment and the Internet; Internet Media Delivery Formats-A DASH to the Races?; Next Generation Content in the Cloud: Ultra Violet; and Mobile Internet Media: Content on the Go!
A year after the SOPA and PIPA melt-down, Hollywood and Silicon Valley are still at odds over how best to address the issue of piracy. Heavyweights from both sides faced off to discuss possible market-based and legal solutions.
CCNA1 course in progress sold out, space in subsequent courses going fast
The Society of Motion Picture and Television Engineers (SMPTE), the worldwide leader in motion-imaging standards and education for the communications, media, entertainment, and technology industries, today announced the addition of CCNA4: Accessing the Wide Area Network (WAN), to its current Cisco Certified Network Associate (CCNA) Exploration courses through its Virtual Classroom service.
“The SMPTE Professional Development Academy offers global access to vital educational services through the SMPTE Virtual Classroom,” said Robert Seidel, executive vice president at SMPTE and vice president of engineering and advanced technology at CBS Television Network. “Among these courses is the renowned Cisco CCNA Exploration program. I have enrolled a number of employees in SMPTE’s CCNA courses, and the results have been impressive. During a recent remote broadcast at a major sporting event, one of my senior engineers suddenly turned to me and said, ‘The SMPTE CCNA course was the best money you’ve ever spent on me!’ I agree and encourage all industry executives and engineers who are responsible for television production, postproduction, or broadcast engineering functions to consider using this program.”
The CCNA Exploration curriculum provides integrated and comprehensive coverage of networking topics — from fundamentals such as addressing and subnet addressing, to advanced router applications and services — while providing opportunities for hands-on simulation experience. The curriculum teaches internetworking based on the underlying technologies and covers concepts using a top-down, integrated approach, whether addressing network applications or the network protocols and services provided to those applications by the lower layers of the network.
The CCNA Exploration Program is comprised of four intensive courses: Network Fundamentals (CCNA1), Routers and Routing Basics (CCNA2), LAN Switching and Wireless (CCNA3), and Accessing the WAN (CCNA4). 2013 is the first year SMPTE has offered CCNA4. Successful completion of all four courses in the CCNA Exploration Program often helps people prepare for the Cisco CCNA Certification Exam.
CCNA course registration includes online, interactive course content; the Packet Tracer network simulator application and software; Packet Tracer lab assignments, access to the global Cisco Academy Connection, the Cisco Companion Guide, and other resources. The weekly, one-hour live instructor coaching sessions, online discussion forums, and other course activities are designed to maximize learning and complement the course’s weekly learning goals and flexible study schedule. Depending on their knowledge and expertise, participants typically spend 10 to 20 hours per week on CCNA course activities.
The CCNA1 course currently in progress has sold out, and space in subsequent courses already is limited. Online registration is available at http://www.smpte.org/ccna-exploration-courses, with registration on a rolling basis. Groups of three or more participants (SMPTE members and nonmembers) may register together for a 10 percent discount.
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About the Society of Motion Picture and Television Engineers The Oscar® and Emmy® Award-winning Society of Motion Picture and Television Engineers (SMPTE), a professional membership association, is the worldwide leader in developing and providing motion-imaging standards and education for the communications, technology, media, and entertainment industries. An internationally recognized and accredited organization, SMPTE advances moving-imagery education and engineering across the broadband, broadcast, cinema, and IT disciplines. Since its founding in 1916, SMPTE has published the SMPTE Motion Imaging Journal and developed more than 600 standards, recommended practices, and engineering guidelines. SMPTE members include motion-imaging executives, engineers, creative and technology professionals, researchers, scientists, educators, and students from around the world. Information on joining SMPTE is available at http://www.smpte.org/join.
TVBEurope will serve as an official 2013 media partner for the Society of Motion Picture and Television Engineers (SMPTE). The partnership will enable both SMPTE and TVBEurope to publicise and promote more broadly their educational and technical conferences, including the SMPTE 2013 Annual Technical Conference & Exhibition and TVBEurope’s Beyond HD Masters and IT Broadcast Workflow conferences. “SMPTE’s mission is to advance theory and development in the motion imaging field, and one key way in which we pursue this mission is by providing educational opportunities to industry members,” said Barbara Lange, executive director at SMPTE. “TVBEurope shares a similar commitment to education, and we are pleased to be working together to promote industry wide awareness of the valuable conferences offered by both our organisations.” www.tvbeurope.comwww.smpte.org