Rob Hummel

(818) 887-7449
4984 Topanga Canyon Blvd. Woodland Hills, CA 91364


Senior Executive with unique strategic knowledge bridging the worlds of film and digital. Recognized for comprehensive experience and knowledge of Cinematography, Digital and Film Formats, Post Production, Animation, 3-D, Film Restoration, and all aspects of digital capture, scanning, compositing, and visual effects. Awarded by ShoWest as one of the pioneers of Digital Cinema with expertise strategizing distribution challenges for both film and digital.
• 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.
• Member of Academy’s Science & Technology Council Steering Committee; Chairman of the public programs subcommittee and host of several programs at the Academy on subjects ranging from film formats, film restoration, to Cinematography and 3-D.
• Editor of the American Society of Cinematographers “ASC Manual.”


Group 47, Inc., Woodland Hills, California 2008 to Present
Founded company to negotiate with Eastman Kodak in acquiring patents and technology transfer to Digital Optical Technology System (DOTS); the only true 100 year archival method of storing digital information.
• Successfully negotiated favorable purchase of over 36 relevant patents.
• Raised financing to pay Kodak, and now Group 47 is the official owner of record for the technology.
• Established liaisons with a diverse set of critical contacts ranging from Studio Archives, Library of Congress, U.S. National Archive, U.S. Intelligence Community, to potential licensees.

Legend3D, San Diego, California 2010 to 2012
Directed strategy of establishing Legend3D as the de facto best in class 3D conversion facility in the world. Opened doors with studio decision makers previously out of reach. Leveraged relationships to implement approaches to 3D conversion never attempted previously.
• Spoke at numerous conferences successfully establishing Legend3D as the trusted “go to” solution for 3D conversion without compromise.
Prime Focus, Hollywood, California 2009 to 2010

CEO, Post Production, North America
Reported to Global CEO, of international production services company based out of Mumbai, India. Oversaw Post Production operations in Los Angeles and New York and played key role in implementation of new 2D to 3D conversion process.
• Refocused Post strategy in support of 3D conversion initiative.
• Recognized shortcomings in digital pipeline and color science, successfully implemented precise workflows consistently yielding superior Digital Intermediate, 3D, and archival elements.

DALSA, Woodland Hills, California, and Waterloo, Ontario, Canada 2006 to 2008
President, Digital Cinema
Reported to Chairman and CEO, and oversaw division with reports in the USA and Canada. Responsible for overcoming Hollywood’s unfamiliarity with DALSA, gaining acceptance by Cinematographers and Post Facilities.
• Leveraged relationships to have high profile Cinematographers put DALSA cameras through their paces, gaining valuable feedback on where improvements were needed.
• Overcame resistance of existing personnel and successfully implemented improvements in image quality.
• Reorganized Canadian Digital Cinema work force, placing them in DALSA’s Digital Imaging division, improving management oversight and efficiencies.
• Worked with media outlets, and generated significant attention upon announcing new camera designs. • Succeeded in first rentals of cameras on major motion pictures (“Quantum of Solace,” “Alice in Wonderland”).

ROB HUMMEL & ASSOCIATES, Northridge, California 2006 Freelance consultant on motion picture relevant projects. Selected projects include:
• BLADE RUNNER – FINAL CUT - Consulted to Warner Bros. on several questions about the assembly of the original film. Most importantly, personally located the VFX finals that had been missing for over 25 years. Included in BLADE RUNNER DVD restoration featurette.
• Warner Bros. Feature Production - Coordinated tests and post production for proof of concept to shoot IMAX for Warner Bros. "The Dark Knight." Involved Anamorphic 35mm vs. VistaVision vs. IMAX. Required workflow of comparing both photochemical and digital pipelines, assembling all elements into an IMAX print for image analysis.

WARNER BROS. TECHNICAL OPERATIONS, Burbank, California 2002 to 2006
Senior Vice President, Production Technologies
Advised studio on all aspects of motion picture technologies and their application to production and post production. P&L responsibility for studio’s on lot digital post production facility, Motion Picture Imaging, and Advanced Media Editorial.
• Oversaw studio’s first test of satellite transmission of a Digital Cinema file to a remote theater, using existing Time/Warner satellite bandwidth, and succeeding on first delivery. This laid the foundation for reducing dependence on outside vendors to deliver digital cinema titles.
• Leveraged relationships, and brought in the first outside studio restoration work to be performed at MPI.
• Praised for effective demonstrations of the facility’s mastering and restoration abilities to filmmakers, the press, members of Congress and British Parliament, enhancing Warner Bros. credibility and effectively making the case for expanded copyright protection.
• As a representative to Digital Cinema Initiatives (DCI), successfully made the case that universal standards released in 2005 should encompass 4K resolution in alignment with Warner Bros.’ strategic goals.
• Debated other international delegations as a member of the official US Delegation to the ITU in Geneva, preventing lower quality Digital Cinema standards from being foisted on the U.S.
• Initiated, and created a full featured DVD to explain unique restoration technologies used by Warner Bros. 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 on DVDs for Wizard of OZ, Gone With The Wind, and Looney Tunes – Golden Collection.

Senior Vice President, Digital Cinema

Reported directly to the President, Broadcast & Professional. Charged with developing Sony’s Digital Cinema strategy. Hosted and demonstrated projection technologies at ShoWest, NAB, and other public venues.
• Rapidly developed the trust necessary to team with counterparts in Japan at developing strategies.
• Assigned to “21st Century Studio Project” by SONY Corporation leadership to perform an extensive assessment of Sony Pictures operations and archive procedures.

TECHNICOLOR, Camarillo, California 1999 to 2000

Executive Vice President, Digital Development

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.
• Established the first Digital Cinema theaters outside of North America by collaborating and negotiating with the Disney Studio.

DREAMWORKS, SKG, Glendale, California 1995 to 1999

Head of Animation Technology (1995-1998)

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.

Head of Production Operations (1998-1999)

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. All casting, recording, mixing, and creation of materials associated with foreign language versions of feature films. Staff of 15 managed all the associated elements for International releases. • FILM ARCHIVING AND ASSET MANAGEMENT: Managed those responsible for preparing film and audio elements of
all feature films and television programs for long term storage to ensure their future viability and protection as key studio assets.
• VIDEO MASTERING GROUP: responsible for telecine transferring all feature films for DVD, and video mastering of television product for overseas distribution.
• 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.

WALT DISNEY COMPANY, Burbank, California 1988 to 1995
Vice President, Animation Technology- Walt Disney Television Animation (1993 to 1995) Responsible for investigating and implementing new technologies to enhance animation production process, balancing creative needs with project deadlines. Guided the use of digital production techniques into pre- production, color modeling, background paintings, and storyboard reels. Member of the corporate New Technology Committee.
• Researched new areas of interactive entertainment 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.

Director, Production Operations- Walt Disney Imagineering, Theme Park Productions (1991 to 1993) Responsible for all production, finance, and post-production 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 production technologies.

Visual Effects Consultant CABIN BOY (1993) Touchstone Pictures. Loaned out by Imagineering to design and execute effects shots all intended to have an old "Harryhausen" type of look.

Director of European Operations- Walt Disney Television Animation (1990-1991) 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.

Director of Post Production- Walt Disney/Touchstone Pictures (1988-1990) 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 preview failures. • In an era before digital solutions, single handedly solved color and contrast problems with THE LITTLE MERMAID
• Oversaw remaking and improved quality of film elements at opening of Disney/MGM Studio Theme Park

TECHNICOLOR, North Hollywood, California 1983 to 1988 Director of Production Services, Professional Film Division 1979 to 1981 Coordinated laboratory services for all feature films and television, consulting with producers regarding all aspects of film stock, cameras, formats and new technologies. Viewed all dailies, performing critical analysis aesthetically and technically. Advised editors/producers on method and quality of opticals. Very involved with such films as Apocalypse Now, Gremlins, Goonies, Raging Bull, Silverado, Star Trek IV, The Last Emperor, and Tucker.

WALT DISNEY PRODUCTIONS, Burbank, CA 1982 Production Consultant and Lab Coordinator for TRON Post Production Supervisor on one of the most complex motion pictures ever made. Consulted on various visual effects techniques used in compositing final effects shots. Supervised final answer print and release print schedule for 35mm and 70mm prints.

ENTERTAINMENT EFFECTS GROUP, Los Angeles, CA 1981 Director of Marketing and Project Development Douglas Trumbull's special effects facility for BLADE RUNNER. Supervised 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.

TECHNICOLOR, North Hollywood, California Production Services Executive, Professional Film Division.

Academy of Motion Picture Arts & Sciences
Active Member BKSTS
American Society of Cinematographers
Active Member SMPTE

1979 to 1981
• “3-D Cinematography,” American Cinematographer, April 2008
• Author of several articles in 9th & 10th Editions of American Cinematographer Manual, 2005 & 2012
• Editor, 8th Edition of American Cinematographer Manual, 2002
• "1000 Who's Really Who," Richard Saul Wurman's TED Conference publication, 2002
• "A Light and a Lens" (Filmmaker's Forum) American Cinematographer, August 1995
• "Pros and Cons of 2.35, 1.85, and Super 35 Film Formats" Chapter in the Seventh Edition of the American Cinematographer Manual, July 1993
• "How Wide the Width?" Perfect Vision, Summer, 1991
• "A View From the Inside" (Perspectives on the History of Technicolor), Perfect Vision, Spring, 1991
• "A Procedure for Testing New Negatives" American Cinematographer, June 1983

Bachelor of Arts, Business Administration, Principia College, Elsah, Illinois

back to Rob's bio

back to associates