Artificial intelligence and machine learning are poised to revolutionize the dubbing process for media content, optimizing it for a more natural effect as part of an emerging movement called “auto-dubbing.” AI has impacted the way U.S. audiences are experiencing the Netflix breakout “Squid Game” and other foreign content, as well as helping U.S. programming play better abroad. Its impact is in its nascency. Soon, replacing rubber-lip syndrome with AI-enhanced visuals that enable language translation at the click of a button may become the industry norm.  Continue reading AI-Powered Auto-Dubbing May Soon Become Industry Norm

The entertainment industry has traditionally piggybacked on primary development in other sectors to fuel our own innovative adoption of practical and compelling technologies. History shows that we consistently benefit from numerous advances across industries for reuse or adaption in our key areas ranging from internal communication all the way to distribution of content. As we start compiling our wish lists for emerging standout technologies to be featured at CES 2022 (returning to Las Vegas January 5-8), we anticipate that an expanded computational sophistication of consumer devices will be in the cards. Continue reading Thinking About CES: Increasing Computational Sophistication

Global data center leader Equinix and the Entertainment Technology Center at USC will present a series of discussions that address virtual production and cloud workflows across various media and broadcast industries. The free webinar is slated for September 23 and will feature thought leaders from AWS, Epic Games, Equinix, ETC@USC, Google, Lux Machina, Mo-Sys Engineering, Paramount Pictures, PGA Tour Productions, Quintar, Silverdraft, and T&P Productions. Visit the webinar page online for more information and to register for what promises to be a compelling event. Continue reading Equinix and ETC Present ‘Virtual Production at Cloud Speed’

Canon has set a November release and price of $6,000 for its highly anticipated EOS R3 mirrorless camera. The pro-series device features a 24.1-megapixel back-illuminated stacked CMOS sensor, combined with Canon’s DIGIC X processor allowing 14-bit RAW files at an impressive 30 frames per second, video capability of up to 6K 60p RAW (4K 120p 10-bit) and ISO range of 100-102400 (expandable to 204800) for still images. Machine learning for eye- and body detection are among the features prompting Canon to call the EOS R3 a “monumental evolution” in digital imaging. Continue reading Canon Ultra-Fast Mirrorless EOS R3 Hits Stores in November

Samsung has partnered with CJ ENM, a major Korean entertainment media production company to build a virtual production facility in South Korea. CJ ENM, which previously inked a deal with Epic Games to use its Unreal Game engine, will rely on Samsung’s next-generation MicroLED display, also known as “The Wall.” The facility will open later this year in Paju, Gyeonggi Province. Because of the savings offered to film and television via virtual production, the Göteborg Film Festival predicted it will be the norm in filmmaking in five years. Continue reading Korean Virtual Production Stage Features Samsung’s The Wall

Makers Pop-Up is a 2-day virtual conference for the creative community that explores the merger of technology with storytelling in film, TV, advertising, interactive and animation. The event, scheduled for Wednesday-Thursday this week (June 9-10), will provide a digital space to make connections, meet potential partners and share ideas and resources. Two executives from ETC@USC will offer their expertise on panels: Yves Bergquist will address the “Virtual Creative Muse: The Evolution of AI as Artistic Mentor and Production Assistant” and Erik Weaver will discuss “Fix it in Prep: How Virtual Production Front Loads Creative Decisions and Costs.” Continue reading ETC Execs to Discuss Future of Production at Makers Pop-Up

Ryan Beagan, vice president of virtual production at WarnerMedia, met virtually with USC students on April 21 for the fifth installment in ETC@USC’s Spring 2021 Executive Coffee with… series. Beagan engaged a group of six students and one recent alumnus in a one-hour discussion on “The Post-Pandemic Future of Virtual Production.” Graduate and undergraduate students in computer science, industrial engineering, theater, applied data, and film and television production discussed topics including sophisticated game engines, collaborative processes and new tools, and adapting to evolving compliance rules. Continue reading ETC Executive Coffee: Warner on Future of Virtual Production

To kick off ETC@USC’s five-part Spring 2021 Executive Coffee with… series, Serhad Doken, executive, innovation and product realization at Verizon, led a Zoom discussion on March 15. “Expectations for the Future of Entertainment and UI/UX design” was the framing question for a wide-ranging discussion. Six students from USC’s School of Cinematic Arts, Viterbi School of Engineering, and the Iovine and Young Academy participated. Topics included user experience expectations, VR and 5G, “gaming” the algorithm, recommendations versus serendipity, artists earning a living, and what experiences have yet to be adopted. Continue reading ETC Executive Coffee: Verizon on the Future of Entertainment

The Hollywood IT Society (HITS) is a community of technologists representing the Hollywood studios, independent content creators and their supporting information technology partners. On Wednesday, May 12, the annual Spring Hollywood IT Summit — HITS Spring: Hollywood Innovation & Transformation Summit — will include presentations by ETC@USC’s Erik Weaver, director of Adaptive Production and Special Projects, and Yves Bergquist, director of ETC’s AI & Neuroscience in Media Project. Presented by HITS and the Media & Entertainment Services Alliance (MESA), the event features 50+ speakers and more than 20 breakout sessions. Registration is available via Eventbrite. Continue reading ETC Execs to Present at Hollywood IT Society Spring Summit

Emulating Netflix’s international strategy, Disney, Amazon and other companies with streaming services are heavily investing in local-language productions globally, to woo international subscribers. Formerly, Hollywood shipped dubbed or subtitled domestic movies and TV shows. These companies are fueling a boom of movie and TV production in Hindi, French, Portuguese, German, Polish and other languages. The Motion Picture Association reported that global subscriptions reached 1.1+ billion last year, rising from 400 million in 2016. Continue reading Streamers Invest in Global Local Productions to Attract Subs

SMPTE Hollywood will offer a glimpse into moviemaking in a post-COVID world this evening when it hosts the producing team behind the live-action, sci-fi short “Ripple Effect.” The virtual meeting is scheduled for April 22nd at 6:00 PM PDT on Zoom. Producers Erik Weaver, Greg Ciaccio and Kathryn Brillhart will discuss virtual production, remote workflow and on-set safety for post-COVID production. “Ripple Effect” is ETC@USC’s latest R&D short film; its goal was to test virtual and remote production techniques and tools in this era of social distancing. Registration for tonight’s event is available online. SMPTE Hollywood meetings are free and open to all, even non-members. Continue reading SMPTE: ETC Producing Team Will Discuss Virtual Production

In 2020 Amazon spent $11 billion on Prime services content, up 41 percent from the $7.8 billion it spent in 2019. The sum includes licensing and production costs and costs related to digital subscriptions and content it sells and rents. The first season of its “Lord of the Rings” TV show reportedly cost $465 million to produce. However, Amazon canceled the “Lord of the Rings” online role-playing game announced in 2019. The huge sums Amazon is putting into content reflects its desire to dominate global digital entertainment. Continue reading Amazon Spent Heavily on Video and Music Content Last Year

The Entertainment Technology Center@USC produced a live-action short, “Ripple Effect” to test new technologies and workflows, including the cloud, virtual production, and remote editing and visual effects. The project also introduced and evaluated a variety of tools and procedures that meet or exceed industry standards for a safe set during the COVID-19 pandemic. Executive producer Erik Weaver, the team at ETC, and tech partners have published a white paper that outlines recommendations for virtual production and critical lessons learned during the making of “Ripple Effect.” Continue reading ETC White Paper Details Best Practices for Virtual Production

In a conversation on cloud-enabled virtual production during the HPA Tech Retreat, Jack Wenzinger of Amazon Web Services’ Global M&E Partners vertical asked how those interested in virtual production can retool existing skills. ETC@USC senior consultant Erik Weaver stated that participating in Epic Games’ Unreal Fellowship program was “an eye-opening experience.” “Understanding what a blueprint is and how to put things in a timeline gave me a fundamental understanding,” he said. “I highly recommend watching all the videos you can on Unreal and start walking through the tutorials.” Continue reading HPA Tech Retreat: Cloud-Enabled Virtual Production – Part 2

When COVID-19 hit, Hollywood (and other filmmaking venues) came to a near standstill, with movie theaters closed and productions halted. As DigitalFilm Tree chief executive Ramy Katrib noted, the M&E business is “uniquely unsuited to social distancing.” But Katrib decided to leverage Cinecode, the tools his company built for virtual production, to see if he couldn’t come up with a way to “visualize” safety on the set. At the Entertainment Technology Center@USC, senior consultant Erik Weaver worked with Katrib and beta-tested the result on the live-action short “Ripple Effect.” Continue reading HPA Tech Retreat: ETC’s ‘Ripple Effect’ Beta-Tests Safetyvis