Rob Hummel Email & Phone Number

Group 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.

Institute 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.

Los Angeles, California, Us

Co-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.

Beverly Hills, California, Us

With 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.

Los Angeles, Ca, Us

Mumbai, Maharashtra, In

Waterloo, On, Ca

Reported 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.

Consulted 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.

Burbank, Ca, Us

Coordinated 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.

Burbank, Ca, Us

Advised 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.

Tokyo, Jp

Reported 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.

Oversaw 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.

Los Angeles, Us

Reported 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.

Glendale, Ca, Us

Reported 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.

Glendale, Ca, Us

Oversaw 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.

Burbank, Ca, Us

Responsible 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.

Burbank, Ca, Us

Loaned out by Imagineering to design and execute effects shots all intended to have an old "Harryhausen" type of look.

Glendale, California, Us

Responsible 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.

Burbank, Ca, Us

Studio'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.

Burbank, Ca, Us

Involved 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

Los Angeles, Us

TECHNICOLOR, 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.

Post 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.

Douglas 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.

Bachelor Of Business Administration - Bba

High School Diploma