Maryann Brandon, editor of STAR WARS, discusses visual effects edit workflow.
I just got back from China, and the nascent NAB Shanghai conference, where I was moderating the Global Innovation Exchange thought leaders event. The sessions on 4K, UHD, and 8K were packed. Speakers talked about how they are building new audiences through OTT, and how they are developing storage and workflows for complex, multi-platform delivery. And not surprisingly, the VR track was packed with speakers presenting on this new and evolving format.
But what really impressed me was the focus on STORY. Yes, we need ways to move massive data packets around for a consistent streaming and viewing experience. Yes, we will continue to improve picture resolution and screen quality. Yes, we will continue to evolve the immersive experience. And yet we know that what leads to success—whether of a social platform, a webisode, a feature film or a game–is a good story. Characters that are memorable. Authentic moments that make us laugh or cry. A connection to emotions that make us return and share, again and again.
Maryann Brandon, editor of STAR WARS: The Force Awakens, STAR TREK: Into Darkness and the new release PASSENGERS, talked about how through all of the special effects, her focus is always on story. If the story isn’t working, effects are not the answer. Her goal and that of the film’s director is always to make an emotional connection with the viewer. Michael Uslan, the producer of the DARK KNIGHT, THE LEGO MOVIE, and many other films, TV series and games, spoke about what compelled him to cobble together the financing to buy the Batman franchise while still in his twenties: “Batman’s greatest superpower is his humanity.”
This could be said of our entire media-TV-film industry. We are of course always taken with technology. Technology enabled us to create the first photographs, the first talking pictures, and the first color films. Technology brought the moon landing into every living room and built the networks that allow CNN to report from around the world. And now technology is bringing us social media experiences, virtual reality programming and AI characters. The future is exciting.
But technology without humanity is nothing. So as I watched speakers from around the world sharing and learning from one another, talking about the kind of stories that truly engage, I was encouraged. Through all the high tech, we must keep our focus on the stories worth telling: those all around us, and those we have not yet imagined.
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On my way to Shanghai, I stopped over in London for the IABM conference with broadcast manufacturers. Here’s my talk on the challenges of Transmedia Production.
If you’ve been following the #GalsNGear hashtag on Twitter, then you know I’ve been working behind the scenes with many colleages–male and female–across production and post to put the focus on women in the technical fields of our industry. We want to be sure these professionals get the limelight they deserve, get access to the best gear, and also help bring along the next generation of women across the industry. 
Several hundred folks attended our most recent VR, production and post gear demos, and enjoyed our killer panel with women in film finance, VR, cinematography, and film finishing during NAB New York (shout-out to our partners NAB, Adorama and Black Magic Design). I’m looking forward to seeing friends and colleagues at IABM in London this weekend, and at NAB Vegas this spring. If you’ve got an idea for a #GalsNGear pop-up event at an industry gathering or film festival near you, give me a shout.
