Wendy Aylsworth is Senior Vice President of Technology for Warner Bros. Technical Operations. Wendy oversees the establishment of emerging technologies for Warner Bros. production divisions.  Her current focus is in digital distribution and digital cinema, having been honored with the Digital Cinema Pioneer Award at ShoWest in 2006.   Wendy has been driving the High Frame Rate technical initiative at Warner Bros. in preparation of the December 2012 release of Peter Jackson’s Hobbit: An Unexpected Journey.  Wendy is the currently elected Executive Vice President of the Society of Motion Picture and Television Engineers and a SMPTE Fellow. She is a member of both the Motion Picture and Television Academies.  Wendy joined Warner Bros. in 1994, having previously spent five years at Disney and fifteen years in the aerospace industry at Lockheed and Honeywell. Wendy holds an MS/MBA (Beta Gamma Sigma) from the University of Southern California in Strategic Planning.  Her BS is in Computer Engineering Sciences from the University of Michigan.  


Principal Engineer, Arnold & Richter Cine Technik, January 2009 – Now
Digital cameras. Color engineering. Workflow support. Software development.

Head of Application Engineering DI, Arnold & Richter Cine Technik  November 2004 – December 2009
Application support for clients of ARRI's DI products. Software development.

Engineer, ARRI Inc. January 2004 – November 2004
Support for clients of ARRI's DI products.

Software Development, Warner Bros. Entertainment Group of Companies November 2003 – July 2004 - Development of a shot database for DI productions.

Technical Officer, The Posthouse March 2001 – October 2003
Digital color correction of the trilogy "The Lord of the Rings". Color engineering. Software and database development.

Technischer Leiter (Chief Engineer), ARRI Film & TV January 1999 – February 2001
Engineering for post production (Flame, Cineon, Spirit, Pogle, etc).



Laurence Claydon currently holds the position of Director of Technology at Deluxe Digital London, and has 20 years experience in Production, Post Production, Distribution and Exhibition. Laurence joined Deluxe in late 2006 having presented a proposal to Deluxe for creating an International D-Cinema mastering service off the back of the existing 35mm language versioning, subtitling and DI businesses. Defined workflows for mastering, distribution and colour science. Responsible for a number of industry firsts, including 3D Subtitling for digital cinema. Laurence holds the US patent for this process on behalf of Deluxe. Laurence has previously held the position of Chief Engineer at Technicolor Creative Services, and Business Development Manager for Digital Cinema at BTS. Laurence holds a BEng degree in Electronic Engineering and Business Management from the University or Warwick.



Mark F Collins is the Director of Projection Technology for Marcus Theatres. He has been working in the exhibition part of the film industry for over 30 years and has been employed by Marcus Theatres for the last 10 years. His responsibilities include design, install, and service of all cinema projection and sound equipment. He successfully rolled out the Digital Cinema deployment of over 600 screens in just under 8 weeks. He was the former Director of Technology Services for MTS, responsible for early D Cinema installations with Boeing, and Studio efforts in both US and Europe. He is a member of SMPTE, Inter-Society (ISDCF) and NATO Technology Committee.




Siegfried Foessel received his Diploma degree in Electronic Engineering in 1989. He started his professional career as a scientist at the Fraunhofer Institute for Integrated Circuits IIS in Erlangen and was project manager for projects in process automation, image processing systems and digital camera design. In 2000 he received his Ph.D. degree on image distribution technologies for multiprocessor systems. Since 2001 he focusses on projects for digital cinema and media technologies. He was responsible for projects like ARRI D21, DCI certification test plan or JPEG2000 standardisation for Digital Cinema. Siegfried is member of various standardisation bodies and organisations like SMPTE. In ISO SC29/JPEG he is chairing the systems group. Within the EDCF he is member of the technical board. Since 2010 Siegfried is head of the department Moving Picture Technologies, spokesman of the Fraunhofer alliance Digital Cinema and vice president of the FKTG, the German equivalent to SMPTE.



Kirk Griffin has more than 30 years of experience in the exhibition industry with all aspects of cinema presentation, the last 18 of which he has served as Director of Engineering for Scottsdale, Arizona-based Harkins Theatres. In this role, Kirk and his team maintain first class presentations on all of Harkins’ 428 screens in five states. From new auditorium design, the recent company-wide digital cinema transformation, and the acquisition of state-of-the-art projection and sound systems, Kirk’s decades of knowledge bring the assurance of quality motion picture presentations to millions of moviegoers each year.  Kirk has been active in several movie exhibition technical groups throughout the years and is currently a regular participant in the ISDCF group.



John Hurst is a system architect and software developer specializing in entertainment technology.
Mr. Hurst began working in the field of digital cinema in 2000. He has more than 30 years' experience in technology management for production and post production, and more than 20 years' experience building software systems. Mr. Hurst is a Fellow of the S.M.P.T.E., where he is currently co-chair of Technology Committee 21DC.





Michael Karagosian is president of MKPE Consulting LLC, a Los Angeles-based consultancy for business development in digital cinema.  He is a 30 year veteran of the cinema industry, and active in the digital cinema space for the past 12 years.  He consults to manufacturers, software developers, system integrators, telecommunication companies, government organizations, and trade organizations.  Michael’s recent activities include the negotiation of digital cinema deployment agreements for Philippines and Ireland.  He was an advisor to the UK Film Council for the Digital Screen Network, and is a founder and former president of Cinema Group Ltd.  In the late 70's and early 80's, Michael led the development of cinema and studio products at Dolby Laboratories.  He has chaired numerous subcommittees in the SMPTE 21DC Technology Committee, and currently chairs the SMPTE TC-21DC High Frame Rate Study Group.  Michael is a SMPTE Fellow.



Howard Lukk is vice president of production technology at The Walt Disney Studios. There he is responsible for helping to incorporate new technologies into the workflow of the studio. Prior to that, he was director of technology for DCI where he was responsible for researching and documenting Digital Cinema Specifications. Before that he was Chief Engineer at IVC a postproduction facility in Burbank. He has also worked as a freelance engineer in the past on HDTV productions such as Woodstock 25th Anniversary and Major League Baseball. Lukk is an active member of SMPTE since 1995 and is also an associate member of the ASC.  


Nick has been an active member of the digital cinema community for over 13 years. He has worked in a number of capacities ranging from the manufacturing, design, service and support of digital cinema servers, to content mastering and distribution. For the last 7 years he has been with Technicolor Digital Cinema in Burbank CA and is currently the Vice president of their Mastering Services group.



Jean-Francois is passionate about image, technology and entrepreneurship. With his extended knowledge of digital imaging, he has more than 20 years of experience in young enterprises. His positions have evolved from product manager, CTO, and CEO to board member in companies like EVS, XDC, intoPIX, and FlyingCam. A specialist in product design and marketing with extensive experience in digital cinema and broadcasting, Jean-François brings an innovative vision to the image market.



Vince Pace is Co-Chairman and CEO of CAMERON – PACE Group, a trend-creating technology and production services firm which provides 3D technology innovations that serve studios, filmmakers, directors of photography, producers, networks, studios and broadcasters. An acclaimed cinematographer and co-inventor of the world's most advanced stereoscopic 3D system known as FUSION 3D, Pace has been a pioneer in reinventing the entertainment experience and has been instrumental in capturing some of the world's most captivating productions of our time. His career marks many significant achievements within the industry, from supporting the camera challenge of BBC’s award winning series BLUE PLANET to designing innovative lighting technology for THE ABYSS and being nominated for an Emmy in Cinematography for bringing back images from the deck of the Bismarck, three miles under the ocean. Today, CAMERON – PACE Group’s solutions are trusted by the entertainment industry’s leading filmmakers and other content producers. The use of CAMERON – PACE Group’s FUSION 3D technology has resulted in over $4.7 billion of box office receipts and is responsible for the most recognized 3D benchmarks in music entertainment, features, and sports including TRON: LEGACY, AVATAR, RESIDENT EVIL: AFTERLIFE, U23D, ESPN MASTERS, NBA FINALS AND ALL-STAR GAMES, JOURNEY TO THE CENTER OF THE EARTH, HANNAH MONTANA/MILEY CYRUS: BEST OF BOTH WORLDS CONCERT FILM and THE FINAL DESTINATION. Based in Burbank, California, CAMERON – PACE Group pioneers the next generation of camera systems, services and a variety of creative tools to empower and enable the entertainment industry, filmmakers, networks and broadcasters as they move into the new world of 3D.



Born and raised in Rome (Italy) to a spanish father and danish mother and schooled in St. Georges International English School. I hold a degree in Computer System's Engineering ( AIEE B.Eng Hons) from the University of Warwick in the UK and certified as an Associate Member of the Institute of Electrical Engineers. Also studied a 2 year Master in Post Production in TRAZOS Madrid and attended the Interactive MEDIA Business School course in Ronda with an original interactive project called the "Magic Camera". I have been working in the media industry for some 15 years, where I have held various positions spanning from production, location shooting, online editing, VFX compositing, color grading, support engineer, application specialist and product manager at Soluciones Graficas por Ordenador in Madrid, digital resource manager at Technicolor, Madrid and currently as a online stereographer, post and workflow consultant and application specialist for SGO Mistika post production solutions. Helped in the development of the Mistika stereo adjustment tools on 1st 3D stereo production of Swan Lake and have been training and consulting on various high profile productions around the world. Recently also involved in setting up optimized post workflows for the 1st 48fps feature film using SGO Mistika solutions from dailies, grading, and finishing.



Moe Shore is Director of Business Development and manages the Phantom product line at AbelCine based in New York.  He has over 25 years of Product Development & Management experience in professional camera systems including over 20 years as Vice President of Panavision.  Moe studied Film & Video Technology at MIT and graduated from Brown University.    


Visionary filmmaker, innovator and entrepreneur, Douglas Trumbull has enjoyed a long and prestigious technological and creative career in filmmaking and entertainment technologies. Trumbull’s early career included creating multiplane artwork and illustrations for To The Moon and Beyond for the 1964 New York Worlds Fair. This film was seen by Stanley Kubrick and Arthur C. Clarke, and led to Trumbull’s pioneering work as one of four photographic effects supervisors on 2001: A SPACE ODYSSEY which won the Academy Award for best visual effects in 1968.  He subsequently influenced moviegoers around the world with stunning visual effects in films such as THE ANDROMEDA STRAIN, CLOSE ENCOUNTERS OF THE THIRD KIND, STAR TREK: THE MOTION PICTURE, and BLADE RUNNER.  In addition, Trumbull directed and produced the feature films SILENT RUNNING and BRAINSTORM.  He has directed numerous Expo and special venue films, videos and attractions and has been awarded more then twenty patents, including one for the first entertainment simulator ride (BACK TO THE FUTURE – THE RIDE at Universal Studios) and another for the Academy Award-winning SHOWSCAN process for high speed 70 mm cinematography.  In 1991 he developed and produced three attractions called SECRETS OF THE LUXOR PYRAMID for the Luxor Hotel, in Las Vegas.



Damian Wardle has nearly 30 years of experience in the theatrical exhibition industry.   He currently serves as Vice President of Global Theatre Technology & Presentation of Cinemark Holdings, Inc.  In his current position, he oversees in-theatre technology and presentation quality for all of Cinemark's theatres across the U.S. and Latin America.  Under his guidance, Cinemark has become recognized as an industry leader in the areas of technology and innovation, including designing and launching Cinemark's XD: Extreme Digital Cinema brand, the company's premium large format experience, as well as Cinemark's new NextGen theatre design concept.  Additionally, he was successful converting Cinemark's entire first run U.S. circuit from 35MM to digital projection.  Currently, he is in the process of implementing the same digital strategy for Cinemark's theaters outside the U.S.


Andrew B. Watson is the Senior Scientist for Vision Research at NASA Ames Research Center in California. He is the author of over 100 papers and six patents on topics in vision science and imaging technology. In 2001, he founded the Journal of Vision (http://journalofvision.org) where he serves as Editor-in-Chief. Dr. Watson is a Fellow of the Optical Society of America, of the Association for Research in Vision and Ophthalmology, and of the Society for Information Display. He is Vice Chair for Vision Science and Human Factors of the International Committee on Display Measurement. In 2007 he received the Otto Schade Award from the Society for Information Display, and in 2008 the Special Recognition Award from the Association for Research in Vision and Ophthalmology. In 2011, he received the Presidential Rank Award from the President of the United States.


Mr. Marv White joined ESPN’s Emerging Technology group on March 1, 2010.  Mr. White has the delightful responsibility of finding new technologies that are important for ESPN and to help make those technologies useful to ESPN.  He collaborates with Disney Research groups in Zurich and Pittsburgh on topics relating to video and broadcast including stereo 3D and robotic camera control.  Prior to ESPN, Mr. White was CTO of Sportvision, who won several Emmys by introducing 1st & Ten, the virtual 1st down line in American football, PitchFX, tracking every pitch in Major League Baseball and showing the results on air in ESPN K-Zone, and NASCAR Raceview and Draft Track, as well as several other virtual effects in sports broadcast.  Before Sportvision, at Etak White led digital mapping and commercial business for vehicle navigation (GPS and other sensors).



Peter trained as an apprentice electromechanical engineer in the late 1960’s, from there he had a spell working in education at Portsmouth University, The Royal College of Art & Design and The National Film and Television School. In the Early 1980’s Peter moved on to Sony and from mid 1985 to 1992 was responsible for all Sony’s HD strategy in Europe. This was a pioneering time and laid the foundations for HD Digital Production and Digital Cinema. Peter facilitated the first HD Multi-camera Music shoot, Genesis @ Wembley in 1987 and the first uncompressed Digital Delivery to a Cinema @ IBC 1988. In 1991 Peter moved to Snell and Wilcox where he product planned and managed more than 20 HDTV and Large Screen Display Products. Peter currently runs his own Consultancy, High Definition and Digital Cinema Ltd, is the Director of the European Digital Cinema Forum Technical Support Group and sits on various Governmental and Professional Committees. Peter is currently consulting on HDTV, Digital Cinema, 3D & advanced TV systems. Peter also runs training courses on behalf of Skillset and independently. Typical topics covered are Digital Cinema Mastering, Stereoscopic 3D Live Production and HDTV. Peters catch line is “I always work on things that haven’t happened yet”.