Shooting Features Faster, Better, Cheaper

SPE Confidential 1

Conception Development Results

SPTech Skills• Knowing how directors and DPs shoot• Practical experience with shooting• Ability to create new production

workflows

F65 System Testing• Trialed on Sony produced demo footage• SPE and production camera tests• Lighting tests – types of light and levels

of lighting

Technology Partners• Sony to improve camera operation.• FilmLight on tools for Dailies and DI.

“After Earth”• First SPE shoot using F65• Colorworks designed near-set dailies

system deployed on location.

“Smurfs 2”• Large scale EFX asset management

streamlined by PBB.

The Challenge• New camera technology, started

shooting immediately F65 available• Needs new workflows• Large amount of data

Workflow Development• Colorworks adds F65 support to near-set

dailies and PBB.• Created workflow to shoot w/o a DIT

EducationPartnered with Productions to train Directors and DPs on the F65.

Across All Productions• Assets pushed to PBB• Pulled by editorial and EFX. • Work with productions on-set to

characterized and fix F65 problems

“No Good Deed”• Shot on location with very little additive

lighting.

“About Last Night”• Shot without a DIT - production is more

agile, camera moves are quickerCamera Operation

• Hands on assistance to productions• Worked with Sony to resolve camera

issues and feed back productions’ needs

The Proposition• 4k cameras (F65) duplicate film

resolution, dynamic range so DP can shoot as if on film

• Better sensitivity than film requiring less light therefore less generator power

• File based workflow reduces time and labor

• Reduce set up on set by deferring some manipulation to digital intermediate

TechnologyDeal Makers Content Protection Deal Negotiations

Content Protection Technology

SPE Confidential 2

Home Entertainment• EST• VOD• Premium VOD (early window)• AVOD• Hospitality• Physical media

Television• SVOD• OTT TV (including catch-up)

Non-theatrical• In flight entertainment, cruise ships and

trains

Sony Pictures as licensee• Crackle• Channels (for OTT services)

Over 200 Deals for SPHE & SPTIncluding Amazon, AT&T, Avail, Bell, BestBuy, Comcast, Cox, Crackle, DirecTV, Dish, Filmbank, Foxtel, France Telecom, HBO, Hulu, Intel, iTunes, Liberty UPC, Lodgenet, Microsoft, MobiTV, MoviesNow, Netflix, Orange, Rogers, Rovi, Shaw, Showtime, Sky, Skype, Starz, Telefonica, Tesco, etc.

Over 40 Non-theatrical DealsIncluding Bluebox, Filmbank, IFE Services, Lufthansa Systems, Panasonic, Rockwell Collins, Row 44, Thales, Thomson Aerospace, etc.

Crackle and ChannelsLicensing content from Fox

Content Protection Standards• Understand the technology.• Understand and contribute to licensing

terms that define compliance and robustness.

• Work to add better security to meet evolving usage models.

• E.g. HDCP, DTCP, OMA, AACS, etc.

Enhanced Content Protection• High value content (4k, early window)• Goal is that hacking only exposes one

title instead of all published titles.

New Content Protection Technologies• Gain knowledge and offer feedback on

new content protection technologies• Use knowledge to move the market

Ultraviolet – DRM Interoperability• 5 DRMs for EST• 12 DRMs for streaming.

The ResultThe Challenge The Solution

Creating UltraViolet

SPE Confidential 3

The State of the Market EST launched but consumers were not

buying. Digital sell-through was broken.

Proprietary digital services (e.g. iTunes, Xbox, PlayStation), lock consumers into a brand diminishing value of EST.

Home Entertainment Electronic sell-through (EST)

transactions are the highest margin.

Open Standards Market needs open standards for digital

distribution similar to DVD and Bluray.

Cross-Industry Support Build consensus across multiple

industries, CE, IT and Content Providers, to support an open market ecosystem and drive proprietary services to an open platform.

The Brand Create a brand (Ultraviolet) that offers

consumers a consistent and predictable experience accessing their collections across all Ultraviolet services.

The Organization The Digital Entertainment Content

Ecosystem (DECE) was formed to fund the development of an open and interoperable rights locker service that allows consumers to access their digital collections from any Licensed service.

Open Standards Draft and license open specifications

allowing any third party service to offer Ultraviolet services and devices

The Timeline• Ultraviolet launched Oct 2011• Live in US, UK, and Canada• Live in Australia, New Zealand and

Ireland in 1st Q 2013

The Numbers• More than 45 companies licensed• 7,600+ titles from most major

Hollywood studios • 7 Retailers live including;

Walmart/VUDU, Barnes and Noble/Nook, Best Buy and Flixster

• More than 6.5 million household accounts, and growing

• Can be watched on 200M++ devices in US

Raised Capital Raised $8M in outside financing to

launch UV

The ResultsThe Challenge The Solution

Screening Room On-line(SRO) & Signal

SPE Confidential 4

Physical MediaNeed to reduce the thousands of physical elements being created / distributed in order to reduce the risk of piracy and lower costs.

New DevicesThe proliferation of mobile devices such as tablets, iPads, iPhones, etc. only adds complexity that needs to be addressed as end-users request content to be delivered to these devices

Use Existing ResourcesUse our existing, internally developed digital media repository to supply content through a new interface

A Complete SolutionThe SRO system together with the Signal system can provide a complete screener solution and can be used with all types of digital media: video, audio, pdf, etc.• SRO is a web based streaming

application that allows end-users to view content on Pcs, Macs, iPads, and tablets while connected to the internet.

On-Device StorageSignal allows for the delivered content to be stored on the local device thus eliminating the need for connectivity giving the user more freedom to view the content anywhere once it has been downloaded.

Screening Room On-Line (SRO)• 600+ users and 6500+ views since June

2012 launch• Improved security – screeners are

individually watermarked to the viewer to trace back if leaked; video watermarks can survive camcorder recordings

• Cost savings – eliminate $1.5M in costs for physical DVD screeners annually for SPT, SPHE, Marketing

Signal• Push encrypted content to user’s

mobile devices that is controlled centrally with content protection

• Currently used by Publicity to provide content to various talk shows

• Currently rolling out to SPT Cable Sales clients(60+ users) for theatrical screener content.

• Currently rolling out to SPT Sales executives(44 sales execs worldwide) for Television content.

Shooting 3D on a 2D schedule and budget

SPE Confidential 5

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Conception Development Operation

The Problem“The bottom line is, if you want to do good 3D, it’s very expensive. The camera equipment is expensive because it comes with a lot of techs, the labor. […] And there’s a lot of tech fixes -- it’s not easy shooting 3D.”

-- Michael Bay

The PropositionWith the right plan and the right equipment you can shoot 3D on the same schedule as 2D, with at most 3 additional crew and 3D post is primarily for adjusting depth to meet creative intent.

The Skills• Knowing what makes good 3D. • Experience with rigs. • Workflows for productions from TV to

major motion pictures

3D Systems Testing• Speed of initial set up• Ability to not need repeated adjustments• Time to change lens• Resilience to real-world handling

Trial RunsSuccessfully shot episodes of “Happy Endings” and “Days of Our Lives” in 3D on the same schedule as normal. 2D version taken from one camera on each rig and aired as part of normal run.

Screen Gems“Planet B Boys” feature shoots in 3D on Screen Gems normal 2D schedule of 35 days. Average 40 set ups a day, three rigs in simultaneous use. Only incremental cost of 3D is rig and three crew members. Never waited for 3D. No 3D correction or conversion needed for rig footage.

SPT’s Left Bank ProductionsEpisode of BSkyB’s “Little Crackers” shoots in 3D in 4 days after one day training for crew. Incremental cost of 3D is rig and two crew members. Producers want to shoot more Sky shows in 3D.

WorkflowColorworks designs near-set dailies system for “Planet B Boys”, footage stored and managed on Production Backbone.