Rob Hummel's Location
Los Angeles Metropolitan Area, United States, United States
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About Rob Hummel
Senior Executive with unique strategic knowledge bridging the worlds of film and digital. Comprehensive experience in Cinematography, Post Production, Animation, Film Restoration, preservation, archiving, and all aspects of digital capture, scanning, compositing, and visual effects.Recognized by SMPTE as a Life Fellow for contributions to the Motion Picture Industry, presented by the ASC with the Bud Stone Award of Distinction for performing exemplary services to the motion-picture community and the ASC, and awarded by CineCon as one of the pioneers of Digital Cinema with expertise strategizing distribution challenges for both film and digital.Specialties: • Able to understand and solve complex motion picture technology challenges while clearly explaining solutions to filmmakers and studio executives.• Persuasive speaker, adept at articulating a position and educating an audience on the benefits of various technologies.• Founding Member of Academy’s Science & Technology Council, and host of several public programs at the Academy, on subjects ranging from film formats, film restoration, to 3-D Cinematography.
Rob Hummel Work Experience Details
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PresidentGroup 47, Inc. Mar 2008 - PresentGroup 47, Inc. owns and is committed to solving the world's long term data storage problems with DOTS (Digital Optical Technology System). DOTS is the only storage media free from the problems of corrosion, delamination, fading dyes, or damage by magnetic fields, static, water, or petrochemicals. DOTS is a non-magnetic, optical, archival, WORM media; fabricated using existing manufacturing techniques and adaptable to different form factors.It is proven to be stable for over 100 years, even when stored in normal office environments and extremes ranging from -9º to 65º C. Because there are no demanding climate control requirements, DOTS is a low cost, green, environmentally-friendly way to truly archive data long term. Because of the techniques used to store data with DOTS, the problem of hardware obsolescence has been solved.There is now a way to archivally store precious digital images and information without the need for extensive monitoring for degradation, and without the need for any costly migration. -
Honorary Visiting ProfessorKanazawa Institute Of Technology Feb 2008 - PresentInstitute of Contents & Technology Integration at KIT Toranomon Graduate School - Presented on subjects of digital technologies and their influence on Motion Picture Production, archiving, and Stereoscopic 3D. -
Co-Editor 11Th Edition Of The American Society Of Cinematographers (Asc) ManualThe American Society Of Cinematographers Oct 2018 - Mar 2022Los Angeles, California, UsCo-Editor, with David Mullen, ASC. The Manual was published in March of 2022. This involved editing, re-writing, ensuring accuracy, consistency of communicating subjects from chapter to chapter, creating illustrations to help clarify many concepts of cinematography, as well as authoring several chapters entirely myself. -
Chair Of The Public Programs And Education Arm Of The Sci Tech CouncilAcademy Of Motion Picture Arts And Sciences Oct 2010 - Oct 2012Beverly Hills, California, UsWith the assistance of Council staff, helped guide the public programs efforts of the Science and Technology Council public programs efforts. Also have hosted or participated in several programs about film formats, 3D, and Cinematography. -
PresidentLegend 3D Nov 2010 - Mar 2012Los Angeles, Ca, Us -
Ceo, Prime Focus Post Production, North AmericaPrime Focus Aug 2009 - Nov 2010Mumbai, Maharashtra, In -
President, Digital CinemaDalsa 2006 - 2008Waterloo, On, CaReported to Chairman and CEO, and oversaw corporate division with reports in both the USA and Canada.• DALSA was marketing a 4K Digital Motion Picture Camera to the industry with a rental model similar to Panavision.• Recognized gaps in employee expertise and hired more qualified personnel. e.g.: New hire improved DALSA’s ‘best’ image rendering software from six seconds per frame to 30 frames a second. A 180 times speed up in rendering speed.• Helped reorganize Canadian Digital Cinema work force, placing them in DALSA’s Digital Imaging division, improving management oversight and efficiencies.• Leveraged relationships to have high profile Cinematographers put the DALSA cameras through their paces, gaining valuable feedback on where image improvements were needed. -
Finder Of Lost Vfx (Consultant)Blade Runner Final Cut 2006 - 2006Consulted to Warner Bros. on several questions about the assembly of the original film. Most importantly, provided the information and personally located the 65mm VFX finals that had been missing for over 25 years.
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Consultant For "Dark Knight" Imax TestsWarner Bros. 2006 - 2006Burbank, Ca, UsCoordinated tests and post production of Anamorphic 35mm, vs. VistaVision, vs. IMAX for proof of concept for "The Dark Knight." Required workflow of getting all elements into an IMAX format print for image analysis and comparison. -
Sr. Vice President Production TechnologyWarner Bros. Jan 2002 - Dec 2005Burbank, Ca, UsAdvised studio on all aspects of motion picture technologies and their application to production and post production. Oversight of studio’s digital post production facility, Motion Picture Imaging, and Advanced Media Editorial.• Supervised the studio's expansion into Digital Cinema Distribution, ensuring quality presentations when the technology was in its infancy.• Oversaw studio’s first test of satellite transmission of a Digital Cinema file to a remote theater, using existing Time/Warner satellite bandwidth.• Sat on DCI Technical and Governing Boards establishing the standards for Digital Cinema.• Performed exhaustive tests of digital camera systems vs. film, demonstrating that film remained dramatically superior to digital as a high resolution, archival capture medium. • Oversaw restoration of several library titles including "Wizard of Oz," Gone With the Wind," "Meet me in St. Louis," among others.• Initiated, and created a full featured DVD to explain restoration technologies used as part of “Wizard of OZ” electronic press kit.• Advised Warner Home Video on restorations, ensuring integrity of original films was maintained. Featured in behind the scenes documentaries for Wizard of OZ, Gone With The Wind, and Looney Tunes – Golden Collection.
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Sr. Vice President Digital CinemaSony Oct 2000 - Jan 2002Tokyo, JpReported directly to the President, Broadcast & Professional. Charged with developing Sony’s Digital Cinema strategy.• Rapidly developed the trust necessary to team with counterparts in Japan at developing hardware and software strategies.• Hosted and demonstrated projection technologies at ShoWest (Now CineCon), NAB, and other public venues.• Assigned to “21st Century Studio Project” by SONY Corporation leadership to perform an extensive assessment of Sony Pictures operations and archive procedures. -
Editor Asc Manual 8Th EditionAmerican Cinematographer Magazine 1998 - 2002Oversaw the first major overhaul of the American Cinematographer Manual in 40 years. Wrote many of the articles, edited and clarified all of the articles. • Reorganized layout of the manual into a logical sequence.• Initiated Recalculation of all Depth of Field and Angle of View tables ensuring accuracy.• Created new film graphics helping clarify detailed information.
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Executive Vice President Digital DevelopmentTechnicolor May 1999 - Oct 2000Los Angeles, UsReported directly to CEO of Technicolor. Oversaw the development of digital technologies, principally in the arena of Digital Cinema, ensuring that client studio’s needs were being met, while positioning Technicolor as a leader in Hollywood. Represented Technicolor on industry committees developing standards for Digital Cinema.• Successfully positioned Technicolor as the leading distribution vendor in the field of Digital Cinema.• Responsible for the establishment of Digital Cinema Screens 13 through 47 including the first Digital Cinema theaters outside of North America by collaborating and negotiating with the Disney Studio. The Disney Studio installed the first 12 regularly scheduled Digital Cinema screens at AMC Theaters. -
Head Of Production OperationsDreamworks May 1998 - May 1999Glendale, Ca, UsReported to Studio CEO and had oversight and responsibility for several areas of the studio, including:• INTERNATIONAL POST PRODUCTION: Established world class dubbing operation for studio.• FILM ARCHIVING AND ASSET MANAGEMENT• VIDEO MASTERING GROUP: responsible for telecine transferring all feature films for DVD, cable, airlines. • STUDIO THEATER OPERATIONS: Managed DreamWorks' screening rooms to ensure theaters were state of the art and highest quality possible with the technologies available.• HEAD OF PRODUCTION TECHNOLOGY, PLAYA VISTA: Oversaw all technology applications and design of production and post production facilities of DreamWorks' then planned live action studio.• Key person for managing corporate and vendor relationships including Eastman Kodak, Technicolor, IBM, IMAX, and SGI.• Acted as an advisor and lead on special projects such as converting the animated film ANTZ into IMAX 3D, and plans for creating Shrek 3D. -
Head Of Animation TechnologyDreamworks Animation 1995 - 1998Glendale, Ca, UsOversaw the initial design and implementation of the digital animation studio infrastructure from hardware to software to final film output, managing a $40m budget and a staff of 70 over a three year period. Ensured creative needs of the artists, directors, and producers were met.
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Vice President Animation Technology, Tv AnimationThe Walt Disney Company May 1993 - 1995Burbank, Ca, UsResponsible for investigating and implementing new technologies to enhance animation production process, balancing creative needs with project deadlines. Guided the use of digital pro¬duction techniques into pre-production, color modeling, background paintings, and storyboard reels. Member of the corporate New Technology Committee.• Researched new areas of interactive entertain¬ment to leverage Disney's TV animation library.• Implemented expanded use of computers in animation pre-production process with off the shelf Macintosh hardware and software.• July through December of 1994, reassigned to Paris, to fix production problems with A GOOFY MOVIE.• Successfully streamlined efforts at Walt Disney Animation, France. -
Visual Effects Consultant Cabin BoyThe Walt Disney Company 1993 - 1993Burbank, Ca, UsLoaned out by Imagineering to design and execute effects shots all intended to have an old "Harryhausen" type of look.
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Director Production Operations, Theme Park ProductionsWalt Disney Imagineering 1991 - 1993Glendale, California, UsResponsible for all production, finance, post-production and installation of films for film production unit of WDI. Devised and implemented production and post production strategies. Advised Imagineering and the Disney Studio on present and future film technologies. -
Director Of European Operations- Walt Disney Television AnimationThe Walt Disney Company Jan 1990 - May 1991Burbank, Ca, UsStudio's line producer on the Movietoons animated feature, DUCKTALES, THE MOVIE. Oversaw entire production, coordinating seven countries involved in the process of animating, inking, painting, and photography to the final answer print in less than eight months. Oversight of London and Paris animation studios with staffs of 150+. Partnered with Director, advising on music, sound effects, mixing, and editing the film.
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Director Of Post Production- Walt Disney/Touchstone PicturesThe Walt Disney Company 1988 - 1990Burbank, Ca, UsInvolved with post production oversight of all Walt Disney and Touchstone features, including such films as BEACHES, DEAD POETS SOCIETY, NEW YORK STORIES, HONEY I SHRUNK THE KIDS, TURNER & HOOCH, LITTLE MERMAID, etc. Responsible for all aspects of post production editorial, sound effects, mixing, previews, answer printing, etc.• Developed Studio Preview Procedures effectively eliminating failures.• Single handedly solved color and contrast problem with THE LITTLE MERMAID• Oversaw remaking and improved quality of film elements at opening of Disney/MGM Studio Theme Park
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Director Of Production Services, Professional Film DivisionTechnicolor 1983 - 1988Los Angeles, UsTECHNICOLOR, North Hollywood, California 1983 to 1988Coordinated laboratory services of 35mm, 65mm, and 70mm for all feature films and television, consulting with producers regarding all aspects of film stock, cameras, formats and new technologies. Working closely with Cinematographers, viewed all dailies, performing critical analysis ascetically and technically. Advised editors/producers on method and quality of opticals. Very involved with such films as Apocalypse Now, Gremlins, Raging Bull, Silverado, Star Trek IV, The Last Emperor, Goonies, Back to the Future, and Tucker.
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Tron - Production Consultant And Lab CoordinatorWalt Disney Productions 1982 - 1982Post Production Supervisor on one of the most complex motion pictures ever made, at that time. Consulted on various visual effects techniques used in compositing final effects shots. Supervised assembly of VistaVision, Technirama, 65mm, and 35mm elements for final answer print. Also oversaw release print schedule for 35mm and 70mm prints.
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Director Of Marketing And Project DevelopmentEntertainment Effects Group - Blade Runner 1981 - 1981Douglas Trumbull's special effects facility for BLADE RUNNER. Supervised 65mm/70mm SHOWSCAN process development, client contact and negotiations. Acted as a liaison with studios and production companies on all film projects, articulating EEG’s capabilities and their applications to visual effects projects.
Rob Hummel Skills
Post Production
Film
Video
Film Production
Visual Effects
Feature Films
Television
Camera
Animation
Cinematography
Broadcast
Video Production
Final Cut Pro
Photography
Editing
Digital Media
Digital Video
Hd Video
Pre Production
Entertainment
Dvd
Storyboarding
Multimedia
Producing
Production
Emerging Technologies
Radio
Video Post Production
Archival Preservation
Sound
Technology
Rob Hummel Education Details
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Principia CollegeBachelor Of Business Administration - Bba -
The Daycroft SchoolHigh School Diploma
Frequently Asked Questions about Rob Hummel
What company does Rob Hummel work for?
Rob Hummel works for Group 47, Inc.
What is Rob Hummel's role at the current company?
Rob Hummel's current role is President of Group 47.
What is Rob Hummel's email address?
Rob Hummel's email address is ro****@****ros.com
What is Rob Hummel's direct phone number?
Rob Hummel's direct phone number is +181899*****
What schools did Rob Hummel attend?
Rob Hummel attended Principia College, The Daycroft School.
What skills is Rob Hummel known for?
Rob Hummel has skills like Post Production, Film, Video, Film Production, Visual Effects, Feature Films, Television, Camera, Animation, Cinematography, Broadcast, Video Production.
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