Thomas MacCalla , UCLA MBA, has provided strategic planning, management outsourcing and brokering services to a wide range of entertainment and technology organizations for more than 20 years. He is a results oriented leader, skilled in motivating and developing excellence, and proven in his ability to open doors to new and emerging markets.

MacCalla served as AVP/Director of Entertainment Technology at Pacific Bell where he created a division that established pioneering technology applications that went on to exceed revenue objectives by 50%. With studios such as Disney, Paramount, Sony, and Warner Bros, he pioneered the use of high speed networking for digital dailies, special effects and animation, and the early work in Digital Cinema.  

From 1996 through 2002, MacCalla was the COO of the Entertainment Technology Center at USC. He reported to a board comprised of all six major motion picture studios as well as leading technology providers.  With the goal of exploring new innovations in entertainment technology, ETC worked in on-line media with Cybersand Box, content security, the introduction of the DVR with TiVO, and the development of Digital Cinema.  He led the creation of the Digital Cinema Lab, which became home to Digital Cinema Initiatives’ (DCI) research.

MacCalla was responsible for negotiating and consummating a contract between a major US studio and the Institute for Creative Technology (ICT), a research organization directed by the U.S. Army with emphasis in visual, audio, and artificial intelligence projects, for the purpose of creating a unique application utilizing commercial video game platforms. 

He continues to facilitate an annual tour of entertainment technology, starting in 2003, along with members of the European Digital Cinema Forum 

In his joint venture, Karagosian MacCalla Partners (2003 -2005), and a subsequent consulting association with MKPE (2006-2011) MacCalla developed projects related to digital cinema rollouts, content fulfillment and distribution and anti-piracy. His role in the first major rollout of digital cinema with the UK Film Council as well as the re-introduction of 3D movies to studios and exhibition is well documented.  

MacCalla has worked with clients in the United Kingdom and Ireland to rollout digital cinema and DCP delivery systems.  He continues to be active in the UK and Hollywood brokering agreements for developing production and post-production applications.

J. Sperling Reich is an expert in both traditional and digital cinema technology as well as Internet and new media based applications.  He presently advises a number of web startups and works with some of the film industry's leading motion picture exhibitors, distributors, equipment manufacturers and product development teams.  

Most recently he was the Vice President of Marketing and Product Management at DTS Digital Cinema (now Datasat Digital Entertainment) where he helped develop such products as the DC-20 Digital Cinema Server, the XD-20 Media Server, the Alexandria Library Management Server, a theatre management system and the AP-20 Audio Processor.  While President of FilmStew, a media based web portal and software development firm, he developed Digital Booking System, which was sold to DTS, Inc. after becoming the most widely deployed exhibition management system in the market.  

Before founding FilmStew Sperling began his career working in motion picture development at Disney (Saturn Films), Creative Artists Agency and the William Morris Agency.  Besides being a current member of SMPTE, Sperling presently edits Celluloid Junkie, a blog he co-founded that focuses on the motion picture exhibition space.  He also produces and co-hosts Showbiz Sandbox, a weekly entertainment news podcast.

For over 25 years Jason Vreeman has been involved in many facets of the entertainment business, working with Hollywood based companies and as an industry consultant to forge new paths towards technological advancements and their adoption.  

After building his first recording studio at the age of 16, Vreeman soon found himself assisting in the construction of radio stations in Paraguay and Ecuador.  Beginning his consulting career in the 1990's, later to be formalized as The Vreeman Group, he helped design and wire up his first cable station in Chicago.  

Upon being recruited by DTS, Vreeman headed for Hollywood.  While with the company he assisted in developing digital audio encoders, used globally by post-production facilities for 35mm film.

Specializing in the technical side of digital cinema, Vreeman has been involved with the product and business development of projects such as the first variable bit rate JPEG 2000 encoder for digital cinema, DCI approved servers for exhibition playback, development of next-generation digital audio sound processors, advertising content distribution networks, and the encoding of alternative content into MPEG, VC1 and H.264.

Vreeman recently helped negotiate Virtual Print Fee (VPF) programs for Latin America, and has been developing a terrestrial and satellite infrastructure for the distribution of digital content throughout the territory.

Vreeman’s practical experience spans from content production to exhibition, and has allowed him to build a strong network of relationships with post production, distribution and exhibition groups throughout Hollywood and Latin America.  His work in Latin America with a leading server manufacturer allowed the technology provider to capture 70% of the region's digital cinema server installations between Mexico and Tierra del Fuego.  

A fluent Spanish speaker and South American native, Vreeman is respected within the entertainment industry not only for his enviable Rolodex, but also for his influence and ability to bridge the cultural divides between Hollywood and the Central and South American continent.