A Keynote Case Study in Data Centric Storytelling
While new production strategies in the modern era of gigabytes and terabytes and file based cameras are empowering to the creative teams, it can be daunting to those that have to track and manage these assets.
The DAS keynote case study, Flexiblity, Inventiveness and Creativity: A Case Study in Data Centric Storytelling, is more than a look at the start of the life cycle. It’s an exploration of where we have been, where we are, and most importantly, where it might be heading.
For the past decade, the team from Bandito Brothers has continually brought technical inventiveness to the creative process. Supported by high powered technical partners like nextLAB, Bandito has successfully executed extreme production and post production models to tell stories. Jacob Rosenberg from Bandito Brothers,. (NEED FOR SPEED, WAITING FOR LIGHTNING, DUST TO GLORY) and Tom Vice from nextLAB will dive into critical questions: How many k’s do we need to shoot and where does this end? With commodity hardware and software when do we lean on a facility today as opposed to 10 years ago? Who is the custodian of the camera original files and how much do we need to preserve? All takes, circle takes, directors cut and final or just the final? What we preserve and how we preserve content will be an important matter.
Cameras, formats, frame rates, hardware and software, content preservation, data custodial duties and the impact on the content life cycle are among the many critical topics open for discussion.
Jacob Rosenberg was born and raised in the heart of Silicon Valley. He is a digital technology expert, author and filmmaker. For over a decade, Rosenberg has worked extensively as a senior consultant to Adobe Systems Inc., on Adobe’s digital video software applications.
In 1994, Jacob built his first non-linear editing system utilizing the latest Adobe products. Within a year he was retained by Adobe to help it develop the forthcoming versions of its digital video products. As Rosenberg’s relationship with Adobe solidified, he became part of the team that continually developed Adobe’s industry leading software. His partnership with Adobe has given him access to “state of the art” digital tools and enabled him to become a foremost expert on using film and video in a digital environment.
Rosenberg’s ability to articulate his knowledge of digital video is evidenced by Adobe Press publishing two volumes of his writing on Adobe Premiere Pro. Additionally, Total Training, a Carlsbad based video training publisher, has released over ten volumes of Adobe Premiere Pro training DVDs written and hosted by Mr. Rosenberg.
Jacob developed his passion for video and film as a skateboarder in the early 1990’s, making two of the most acclaimed skateboard videos for the company Plan B. Upon graduating from Emerson College, his thesis film was released on DVD and he promptly began directing music videos, commercials and short films.
Rosenberg connected with Mike McCoy and Scott Waugh when he served as the Online Editor and Digital Intermediate Supervisor for “Dust to Glory.” “Dust to Glory” utilized an all digital workflow designed by him that used 1080p HD as its Digital Intermediate format, mixing nine different video formats seamlessly and printing the HD edit directly to film. Subsequent to “Dust to Glory,” Jacob has contributed his technical knowledge to a number of feature film projects, including “Superman Returns,” Martin Scorsese’s Rolling Stones documentary “Shine a Light,” James Cameron’s “Avatar,” and the upcoming independent film, “LBS.”
AMIA’s Digital Asset Symposium brings together experts from a broad range of institutions and disciplines at the corner where theory and real world experience meet. Understanding that each phase of the digital life cycle impacts the next, DAS explores the different systems used by a variety of practitioners dealing with similar digital challenges. A networking cocktail reception follows sessions each day to allow the discussion to continue and expand.