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Alright, so there was a bit of a technical. You go ahead and start over again. I'm sorry, sir, go ahead.

Not a problem. Good morning. My name is Miguel Casillas. I am the Senior Director for the format ecosystem for TrueCut Motion. A very exciting new product from Pixelworks, my company. And it's a pleasure to talk to you guys a little bit this morning about perfect motion on every screen from television to cinema and mobile and either way,

So go ahead and give us the full elevator pitch on what your product does.

Yeah, so um, TrueCut Motion is its first of its kind format that we announced here at CES today that essentially allows a director, filmmaker, content producer to motion grade, their film, TV show, content, etc. for every screen, eliminating judder, the dreaded soap opera effect that you see in a lot of TVs. And really for the first time in the history of home entertainment and cinema to be quite honest, be able to really dial in the look of motion and present their vision for what the film is supposed to look like without the judder, without the excessive blur, the soap opera effect that waxy, you know, that waxy effect. And we're something that it's really exciting for us where we think it's an amazing tool, a lot of years in development on it. And we're ready to totally turn on the world as they say.

It's interesting, you know, this would be a product that you almost expect to see at nav. So being at CES, then who is your, who's your target demographic you're introducing this to? And what's the goal for here at the show?

Yeah, great, great question Todd. So I guess, I guess the first thing to try to unpack it when I talk about the format ecosystem, is to kind of sort of really unravel what that, what that means and sort all the components. So first and foremost, a true commission is a tool that, you know, we can give to filmmakers, probably, essentially a post-production house where they would do color grading normally. They would do a motion grade there. The second part of the ecosystem is a digital distribution platform, which we have some partners in the work, let's say that we can't announce this week. And then the third thing that we're actually really super excited about is that TCL just announced their support for TrueCut Motion as their preferred motion playback solution for their TV sets, essentially, in the calendar 2022.

So a lot of that's built than actually into the technology of the actual television, then I'm assuming some because you know, you do all the production before it goes digital, but then the TV has to be ready to accept that encoding. Right. Is that my thought process correct?

You're on the right track. No question about that. What makes our format ecosystem unique, though, is a lot of essentially, the heavy lifting, if you will, is actually in the motion grading tool itself.

Gotcha.

So that the TV set essentially just has to get thrown into a sort of a playback mode.

Right.

When we flag our content, and then it knows automatically to trigger TrueCut Motion playback mode,

Gotcha.

Without the user manipulating any kind of remote control setting. There are no modes to fumble through

Right, Right. Right

on the TV set. It just kind of knows. And then the remarkable thing, which I actually kind of love being a gamer and watching sports and other things is that as soon as that piece of content is deemed over an encoded flag essentially allows the TV set to return automatically, like a sticky basically, automatically to the previous mode you had whether that was you know, vivid mode or game mode, what have you. And you know, with a lot of these new TV sets getting bigger and bigger, and really getting hotter and hotter, if we can be honest, right, just getting brighter and brighter. You know, motion anomalies, shutter, blur issues just become a kind of more prevalent. What's great about our tool, and our technology is not only just let the director kind of dial it in, but it doesn't require the TV set to go into some kind of super dark mode. Like a lot of these game embedded modes on TV sets or movie filmmaker type settings, you know, tend to do because quite honestly, we watch TV at home in a lot of different settings, bright rooms, living rooms, different kinds of lighting setups, and so it kind of bypasses all that doesn't require that and you get this constant fluid. generalists, non-soap opera effect, playing back and we think it's something quite remarkable. You know, when we're going back and essentially you know, talking of filmmakers we're doing that now and we can't announce who we're working with yet.

Sure.

But we, you know, we knew right away that we had a hit on our hands because you know, for the first time kind of in film history or will be too, too eclectic about that, but, you know, to be able to, you know, you want your filmmaker you as an audience member, as a consumer film, as a cinephile. You want to see what the filmmaker approved and what kind of the author's vision. You know on screen, and especially now, in our pandemic, let's be honest, we're consuming probably more media at home, at least for now than we ever thought we would. And so if you have been a filmmaker, you know, willing to obviously work with an audio mixer to mix the film, the film the way he wants you to see it, he or she wants to see it, and have that same filmmaker, do a color grade, in HDR, whatever they want to control the color. Well, why not control the motion, and do a motion grade and get the exact playback look, the motion, you know, feel and look that was intended all the way from a big screen to any screen. And so that's, that's, that's a real big kind of value proposition for the filmmakers. And we're getting a lot of great traction on it.

Right. You know, it's interesting, because if you look at some of the televisions that are coming out, now, we were over in central yesterday and walked through some of the big vendor booths, and the television video is almost more real than life. And I've been saying that a while for a while, especially with OLED type displays and that type of stuff. And it's just, it's so vivid now. It's such a, it's almost a, again, almost truer than life experience. And so it's interesting that you're working with TCL because TCL has really on one side, they have a real low-end consumer product, but then they also have a little bit higher-end product as well. So to see them trying to up their game as well as a big thing. So do you see this then, this technology, mostly going into the higher-end television sets? Where do you think it's going to be applied mostly?

Yeah, great question. And I don't, I don't know the answer to that to be 100% honest Todd. I know, I know, of essentially TCL. You know, they are doing their evaluation of where and how they want to do the deployment.

Yeah.

And that's gonna be on a roadmap to work with them. In the next couple of months. But I think you're absolutely right though. I mean, the overall 50,000-foot view is what consumers want the biggest, the best, the brightest at home. Yeah. And, like you, I was walking the show floor yesterday, and I'm seeing all this just amazing, you know, quantum and 4 LED and just bigger and brighter. And it's, and don't get me wrong. There are some amazing displays that you can see on the show floor. But if you notice, a lot of what's being shown on the floor isn't real cinema, real playback.

Sure, Right. It's a demo reel.

It's a demo reel.

Right.

And they're beautiful. They show the color vibrancy and you get that gamut look and the heat. And, you know, I like to be so bold, you know, we want to kind of jump on board and be the ones that sort of we are the ones that believe solve motion, and teach others and anomalies for this next wave of televisions. And we're just super excited about it.

For the folks out there that are following along from home, where can people go and check out this tech, maybe see a reel or something? The question is that if you don't have the enabled chipset or whatever, you won't get the full effect. But where can they get more information on this?

Probably the best place to start actually is on our website. truecutmotion.com, pixelworks.com/truecutmotion. You can get all kinds of materials there, some explainer videos there. And definitely reach out to us if you want a demo. It's all in there.

All right. Awesome. Thank you for coming out and sharing with us and good luck with the rest of the show. I know you're on your last day here but like the success team in your tech deployment.

Thank you so much. It's a pleasure to be here.

Thank you so much.

TPN CES 2022 coverage is executive produced by Michele Mendez. Technical Directors are Kurt Corless and Adam Barker. Associate producers are Nancy Ertz and Maurice McCoy. Interviews are edited by Jo Mini. Hosts are Marlo Anderson, Todd Cochrane, Scott Ertz, Christopher Jordan, Daniele Mendez, and Allante Sparks. Las Vegas studio provided by HC Productions. Remote studio provided by PLUGHITZ Productions. This has been Tech Podcasts Network Production, copyright 2022.