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http://www.nytimes.com/2009/04/27/technology/business-computing/27disk.html

By STEVE LOHR
Published: April 26, 2009

General Electric says it has achieved a breakthrough in digital storage technology that will allow standard-size discs to hold the equivalent of 100 DVDs.

The storage advance, which G.E. is announcing on Monday, is just a laboratory success at this stage. The new technology must be made to work in products that can be mass-produced at affordable prices.

But optical storage experts and industry analysts who were told of the development said it held the promise of being a big step forward in digital storage with a wide range of potential uses in commercial, scientific and consumer markets.

“This could be the next generation of low-cost storage,” said Richard Doherty, an analyst at Envisioneering, a technology research firm.

The promising work by the G.E. researchers is in the field of holographic storage. Holography is an optical process that stores not only three-dimensional images like the ones placed on many credit cards for security purposes, but the 1’s and 0’s of digital data as well.

The data is encoded in light patterns that are stored in light-sensitive material. The holograms act like microscopic mirrors that refract light patterns when a laser shines on them, and so each hologram’s recorded data can then be retrieved and deciphered.

Holographic storage has the potential to pack data far more densely than conventional optical technology, used in DVDs and the newer, high-capacity Blu-ray discs, in which information is stored as a pattern of laser-etched marks across the surface of a disc. The potential of holographic technology has long been known. The first research papers were published in the early 1960s.

Many advances have been made over the years in the materials science, optics and applied physics needed to make holographic storage a practical, cost-effective technology. And this year, InPhase Technologies, a spinoff of Bell Labs of Alcatel-Lucent, plans to introduce a holographic storage system, using $18,000 machines and expensive discs, for specialized markets like video production and storing medical images.

To date, holographic storage has not been on a path to mainstream use. The G.E. development, however, could be that pioneering step, according to analysts and experts. The G.E. researchers have used a different approach than past efforts. It relies on smaller, less complex holograms — a technique called microholographic storage.

A crucial challenge for the team, which has been working on this project since 2003, has been to find the materials and techniques so that smaller holograms reflect enough light for their data patterns to be detected and retrieved.

The recent breakthrough by the team, working at the G.E. lab in Niskayuna, N.Y., north of Albany, was a 200-fold increase in the reflective power of their holograms, putting them at the bottom range of light reflections readable by current Blu-ray machines.

“We’re in the ballpark,” said Brian Lawrence, the scientist who leads G.E.’s holographic storage program. “We’ve crossed the threshold so we’re readable.”

In G.E.’s approach, the holograms are scattered across a disc in a way that is similar to the formats used in today’s CDs, conventional DVDs and Blu-ray discs. So a player that could read microholographic storage discs could also read CD, DVD and Blu-ray discs. But holographic discs, with the technology G.E. has attained, could hold 500 gigabytes of data. Blu-ray is available in 25-gigabyte and 50-gigabyte discs, and a standard DVD holds 5 gigabytes.

“If this can really be done, then G.E.’s work promises to be a huge advantage in commercializing holographic storage technology,” said Bert Hesselink, a professor at Stanford and an expert in the field.

The G.E. team plans to present its research data and lab results at an optical data storage conference in Orlando next month.

Yet, analysts say, the feasibility of G.E.’s technology remains unproved and the economics uncertain. “It’s always well to remember that the most important technical specification in any storage device, however impressive the science behind it, is price,” said James N. Porter, an independent analyst of the storage market.

When Blu-ray was introduced in late 2006, a 25-gigabyte disc cost nearly $1 a gigabyte, though it is about half that now. G.E. expects that when they are introduced, perhaps in 2011 or 2012, holographic discs using its technology will be less than 10 cents a gigabyte — and fall in the future.

“The price of storage per gigabyte is going to drop precipitously,” Mr. Lawrence said.

G.E. will first focus on selling the technology to commercial markets like movie studios, television networks, medical researchers and hospitals for holding data-intensive images like Hollywood films and brain scans. But selling to the broader corporate and consumer market is the larger goal.

To do that, G.E. will have to work with partners to license its holographic storage technology and expertise, and the company is already talking with major electronics and optical storage producers, said Bill Kernick, who leads G.E.’s technology sales unit. The holographic research was originally related to G.E.’s plastics business, which it sold two years ago to the Saudi Basic Industries Corporation for $11.6 billion.

In the entertainment industry for the long haul? You had better be nice to the person who answers the phone. More specifically, if you are calling someone at United Talent Agency, the person you are speaking with may be the person you are trying to reach very soon. At UTA, the long road to agent usually culminates after years on an assistant’s desk on any one of four floors at 9560 Wilshire Blvd. – a fertile training ground for agency (and industry) personnel. Over 65 of UTA’s nearly 100 agents (including partners Andrew Cannava, Dan Erlij, Wayne Fitterman, Lisa Jacobson, David Kramer, Larry Salz and Jay Sures) all made the jump to agent off of assistants’ desks at the agency. Subtly contrarian, the partners at UTA have bucked the trend by remaining at their great location between Barneys and the Beverly Wilshire for more than a decade and a half. The 5th floor (pictured here), like the other floors to which UTA eventually expanded, has always exuded the silent intensity of agent hopefuls vying for promotion. UTA has even instituted its own thorough and rigorous education program for all in-house recruits. UTA University provides formal training to agent trainees, and all trainees must first graduate from UTA U to get on an assistant agent’s desk and continue their training. The curriculum covers a wide range of the agency’s business practices and departments, and also trains them on software, submissions, accounting, coverage grids, phones and a multitude of company policies. And so the current assistants on the 5th, 4th, 2nd floor and penthouse at UTA read, listen, watch, schmooze and strategize as they perform their daily tasks. To become an agent requires astuteness; ambition; perseverance; an ability to develop “a point of view” – a popular agency mantra; a love of movies, television, literature and other media; and plain old hard work.

photographs by Tom Benedek

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UTA Mailroom

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UTA Assistant mans the phone

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View from the atrium of the 5th floor at UTA

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Assistant holds down the fort outside 5th floor office

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UTA University in session

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Jay Gassner and client Andy Samberg

Jay Gassner treaded a steady path through this maze. He started in the mail room at UTA 10 years ago. His first assistantship on the 5th floor was with Larry Salz. At that time, Salz worked as an agent in the office Gassner now occupies.

more about “HOLLYWOOD 4.0 INTERVIEWS JAY GASSNER …“, posted with vodpod

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Gassner, Samberg and Darren Statt work on comedy juggernaut strategy.

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UTA partner in 5th floor officeactionedberkus1utaPartner’s Office

photographs by Tom Benedek — visit tombenedek.com

more about “UTA CAM – ASSISTANTS ON THE JOB“, posted with vodpod

Once you came to Hollywood with what you hoped was a great original screenplay under your arm and you could make things happen in the business. Now it helps to already have made that film… complete with dedicated website, blog, Facebook/Myspace pages, key word, Search Engine Optimization(SEO) and email strategy, even perhaps a flash game widget. As the music business collapsed, musicians learned they had to market theEditmselves independently and digitally. Now filmmakers must move further and further into that same groove. While the Indie film business works through its current economic shake-out/evolution, DIY marketing has become essential for all but the biggest names.actionadded1savedforweb1bennyandrafiadjusted1dsc_58691 The Fine Brothers(Benny and Rafi)milesbeckett1

miles-beckett-at-window2Lonelygirl15 c0-creator Miles Beckett of Eqal


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Fine Brothers two-bedroom North Hollywood home/studio/production office/marketing headquarters

Suppose you decide to create content primarily for internet distribution. Web programs require even greater measures of interactive efforts. Webisodes are the new cable, but instead of hundreds of channels, there are infinite niches ready to be filled with shows. If you just create and upload some of that content — great, terrible or indifferent– probably nobody will ever know about it. You don’t just have to DIY on the production side, you must, must DIY big time on the e-marketing side. The interactivity IS the content. It’s a movie. It’s a TV series. It’s a website. It’s a blog. It’s a text message. And a Facebook page, etc. etc. Execute all that… and maybe they will check out your show. And if your reels are any good, they may just stay and watch. Much harder than writing that compelling screenplay. But then you have to do that, too.

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Programmer at Eqal

A number of filmmakers who have set out to create specifically for the web have broken through and are now creating commercial programming for that space.
Programming niches on the internet are being filled by filmmakers who broke into the business with DIY webisode productions of epic proportions. Doug Cheney, Ryan Wise, Chris McCaleb and Chris Hampel, the four writer-directors who are Big Fantastic, did double duty against their industry day jobs — creating eighty nimble 90 second episodes of Sam has 7 Friends with their own resources. Making a full-time career of Big Fantastic, they did Prom Queen and Robin Cook’s Foreign Body, a web series prequel to the book of the same name for Michael Eisner’s Vuguru, plus Sorority Forever for the WB. Miles Beckett, Greg and Amanda Goodfried of Eqal, the team behind the internet blockbuster Lonelygirl15, are launching Harper’s Globe, a fifteen part web series which is a standalone webisode/social network series spun off the new CBS series, Harper’s Island. Tony Valenzuela, director of Harper’s Globe, created the evocative epic web series on his home computer. Returning home from his day job in an ad agency, Tony sipped energy drinks into the wee hours as he created his epic web series, 2009Atruestory, which led him to Eqal’s Harper’s Globe. On the comedy side, Benny and Rafi Fine(The Fine Brothers) have been Youtube comedy stalwarts with 24,000,000 hits on their fast, precise, often witty humor pieces. Living, producing, writing, directing and editing in their 2 bedroom apartment in North Hollywood, the Fines have been featured on all major internet comedy sites. With over 337,000 views in March – business as usual for their content, the Fines are #50 on the Most Subscribed YouTube Comedy Channel this month and #84 all time. In their own words… “Yes, we are brothers. Yes, we used to be orthodox Jews and are sons of a Rabbi. No, we will not stop offending you with our videos.” The Fine Brothers’ new web series pilot for Comedy Central is actually not raunchy and will air in early April. It features another Youtube superstar — video blogger Shane Dawson. Audiences grab on to compelling film content wherever it is being shown. Cable TV was once exclusively a ghetto of re-runs, but now it is the main arena for the best original television programming. Gradually, web series will surely follow the same path.actionadded1bigfantasticgroupin-office1

Doug Cheney, Chris Hampel, Chris McCaleb and Ryan Wise, the four writer-directors who are Big Fantastic



Watch Lonelygirl15′s Miles Beckett talk about web series development:





directortonyrodriquez1harpersglobecom11Harper’s Globe director Tony Valenzuela

redbull2eqal1Eqal programmer

amandagoodfriedeqal1Amanda Goodfried of Eqal

savedforwebprofiledcinematographereqal11Harper’s Globe, Lonelygirl15, LG15: The Resistance Director of Photography, Kevin Schlanser

all photographs by Tom Benedek

© Tom Benedek 2009

NOTE: Due to copyright issues which have been raised, all images of the interior of the building formerly known as CAA have been removed.

Turning intermittently from screenwriting, teaching screenwriting and photographing permutations of writing, its process, its physical and emotional results, I decided to start a side project — a series of photographs of the power centers of Hollywood, past, present, future as the digital age changes everything in greater and greater leaps.

For that purpose, I asked my agent to ask a former agent once removed, Michael Ovitz, if I could do a series of large format photographs of the interior of the old CAA building at Wilshire and little Santa Monica – Ovitz’s House of Pei.  The new breed CAA had vacated the dump for Century City and the building stood empty… for a long time.  My intention in photographing the building: I hoped to capture a few ghosts and auras of my own Hollywood past.  And those of everybody else who toiled to make movies and television shows in the town during the 80s and 90s.

I hoped my lens might capture little dusty whirlwinds still emanating… of turnaround, rewrites, checks messengered, projects and talent scorned left and right….  for the greater good of CAA’s star-driven agendas.  Movies made, calls unreturned, power used, abused.  Just like in the Golden Age of Hollywood… just like always in Hollywood.But Mike turned me down.  It was kind of shocking for a fool like me. And, of course, immediately I recognized that old feeling. Oh, Hollywood. Oh, Mike – you passed on my project. OUCH. I kicked myself for subjugating my art concept to that system, to Mike Ovitz of all people.

His representative: “Michael has a very special and very specific relationship to this building and sees it as a work of art in and of itself, so it’s a bit difficult for him to get involved in another project that plays off the building and its relationship to the city in a different manner.”

Once the space was leased out, I slipped in and took some pictures. The ghosts and auras had been painted over. The emblematic giant, immoveable Roy Lichtenstein hung shrouded like a Christo in the atrium. And I settled for a set of digital images of the renovation in progress. They had removed the Creative Artists Agency logo from the marble on the front wall. But the outline and mounting holes remained – looking a bit like bullet holes. But they’re not.

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