Chris Pfaff moderated the ‘How to Create Immersive 3D Stories with Real Humans’ panel during SXSW 2026 on Monday, March 16th at 4:00 pm at the Austin Marriott Downtown in the Waller Ballroom A. Joining him were Lauren Michelle, CEO, Operaverse Corey Rosen, EVP, Creative Development, Production & Storytelling, Super 78 Richard Broadbridge, CEO, 4Dviews.
The session featured presentations on various techniques for incorporating real human capture – not avatars – in immersive stories.
You can watch the full session at:
And Part II:
HOW TO CREATE IMMERSIVE 3D STORIES WITH REAL HUMANS
The explosion of virtual stories across platforms has seen an increase in the integration of real humans in immersive experiences. The evolution of stunningly realistic volumetric video now enables real human capture and integration in scenes that are life-like and spatially adaptive. The innovations that are now making the human more prominent in complex virtual narratives are being led by producers and toolmakers who are building a network of dynamic volumetric artisans. This session features leading developers of mixed reality, VR, and mobile AR that render virtual humans – not avatars. Monday, March 16, 2026 Austin Marriott Downtown- 304 East Cesar Chavez St. Waller Ballroom A Chris Pfaff, CEO, Chris Pfaff Tech Media LLC
On Thursday, February 26, at Streaming Media Connect, Chris Pfaff, CEO, Chris Pfaff Tech Media, moderated the panel “Vertical Leap: Growing the Free Vertical Drama Business at Streaming Media Connect,” which explored the ways that vertical drama is exploding on free streaming platforms, driven by mobile-first viewing, bingeable formats, and a new generation of viewers and global creators.
The potential of vertical series to become a major mass media form
Pfaff began the discussion by noting that vertical microdramas are a rapidly evolving and exciting new area of media. He asked the group, “How can a seasoned executive in microdrama leverage their past experience from traditional film and TV to increase both artistic and commercial value of this medium?”
Woodley shared his journey from early web series to mobile storytelling, emphasizing the importance of compact stories and the potential of vertical series to become a major mass media form. “I think we are starting to see the aperture widen,” he said. “We’re not only talking about micro budget production…we are now at the precipice of this really becoming a big new mass media in a way that we haven’t seen in a while.”
The integration of AI in content creation and distribution
Grace Gao discussed the launch of her microdrama studio, Celestine Pictures, and the integration of AI in content creation and distribution. “We are focusing on IP screenwriting as our core moat, but also utilizing AI in the pipeline, and also acquiring and distributing internationally at the same time,” she said. “And where it all came from was [that] I’ve been a bilingual person my whole life, and I started out my film and TV career out in New York, the very independent filmmaking scene, traveling with a co-production crew around the world, from Australia to Asia, back to the States.”
She went on to recall that, “after coming out of grad school with a screenwriting degree, straight into the strike, the only gig in town was the verticals. So I naturally fell into this landscape and started learning about this new medium early because of that, learning from the best platforms out there, best collaborators early in the game. Now I’m able to see where we fit best in this entire landscape, and I decided to establish our own thing, really honing in on human creativity as we’re evolving further into automation, trying to cut the cost down across the board.”
The shift in content strategy and audience engagement for microdramas
Brandan Dennehy recounted his experience with Pocket FM and the rise of microdramas, noting the shift in content strategy and audience engagement. “I sort of backed my way into this space completely by happenstance, even before microdramas were a thing. I spent 20 years in Hollywood working with folks like David Ellison, Kevin Feige, and Michael Mann. And even then, it was impossible to get anything made. The pandemic came along and killed everything that I had set up, and serendipitously, a company [Pocket FM] reached out to me, pitched themselves as the Netflix of audio, and I said, sure, let’s do it. And what I learned immediately was that this company’s business model was quite different than anything else that was going on.
“We were licensing content from China, we were localizing it, we were testing it. And then, when we were validating through testing, we would make those shows for the US audience. And that model was in late 2021, which led to the explosion of microdramas about a year and a few months later, when ReelShort came out. And so we moved into that space in our own way at PocketFM, mostly for marketing purposes, but also putting shows in the app.
Carina Williamson highlighted the opportunities for new graduates in the vertical space and the rapid production cycles that allow for quick audience feedback and content adaptation. “We’re seeing a new generation similar to me who are coming to Hollywood out of school or moving to try and make a career in entertainment. And they’re all turning to verticals instead because, one, there are just so many of them that there’s an endless amount of options, and also because there is a severe lack of options in the traditional Hollywood space.” She also emphasized that microdramas are well-suited for highly optimizing audience engagement due to their quick turnarounds. “[We] have the opportunity to see projects through from script to production to editing to release in such a short amount of time, and be able to understand the data and our audience in such short timeframes, make such quick decisions, test things out, and get to understand what people are looking for out of this new form of media.”
Brand integration in vertical dramas
Woodley discussed the unique opportunities for brands to fully integrate themselves into vertical dramas. “I’m Dos Equis, and at the top of the quarter, I could say, ‘Oh, you know what? I think I’ll do a microdrama. And by the end of the quarter, it’s out, and I have my results.’ And that’s the kind of thing we did when I was at College Humor, leading the branded content division, but that would be for a brand with a one-off sketch video. And now the question is really, well, why can’t a brand make an entire series? And they’ve started to. Procter & Gamble recently made a 55-episode series with Jonas [Barnes] at Pixie USA. And there’s been a couple of other experiments in this space, [such as] Maybelline.”
The immersive arts and entertainment cognoscenti showed up at the School of Visual Arts Graduate Theatre in NYC on Thursday, January 22nd for ‘Immersive Theatre: Volumetric Capture Smashes the Four Walls.’ Some of the leading players in the field, including Richard Broadbridge from 4Dviews, Todd Eckert from Tin Drum, Inc., and Leigh Tanner from HTC VIVE Arts, and Chris Pfaff SXSW from Chris Pfaff Tech Media LLC gave detailed presentations on experiential theatrical and musical works that leverage how volumetric video enables human-like presence, emotional depth, and audience connection in ways that traditional stages simply cannot.
Todd Eckert, who produced ‘An Ark,’ which had premiered the previous evening at The Shed (NY), showed how the four actors, including Sir Ian McKellen, took to the volumetric recording process. Richard Broadbridge discussed his work with Eckert on ‘An Ark’ and their previous collaborations, including ‘KAGAMI’ with Ryuichi Sakamoto. Leigh Tanner discussed ‘Playing with Fire,’ the spectacular musical experience with pianist Yuja Wang, currently playing at Philharmonie in Paris.
On Tuesday, October 21, 2025, Chris Pfaff moderated the ‘Future of Fan Engagement with AI’ panel at the 2025 Upside U.S. Sports Tech Summit at Amerant Bank Arena in Sunrise, FL (the home of the two-time defending Stanley Cup champs, the Florida Panthers).
The session discussed tailoring content and experiences for individual fans and AI-powered fan engagement and training tools, and featured:
* Bill Chapman, Emmy® Award-winning live director and producer, Warner Bros. Discovery * Pawl Osterreicher, co-founder and CEO, Respo.Vision * André Antonelli, CEO, Machina Sports * Steven Lund, head of sales, Cerbrec * Robert Hull, CFO, Panini America
The Sports Tech Conference, produced by Upside Global, features leading sports medicine, sports science, sports training, sports engagement, and sports management professionals in an all-day event that includes leagues (NHL, NBA, NWSL, NCAA), teams (Minnesota Timberwolves, New York Knicks, Miami Heat, New York Liberty, Florida Panthers), schools (Florida Atlantic University, FIU, University of Miami), as well as leading venture capitalists (SeventySix Capital, Courtside VC, Wildcard Ventures, Cartan Capital, Stadia Ventures, Causeway Media Partners, Relay Ventures), and leading sports tech firms (Machina Sports, Vert Sports, Kinvent, Winback).
Chris Pfaff moderated the tech track session ‘Immersive Sound: How to Create Powerful Experiences’ on Thursday, March 13th from 11:30-12:30 pm in Salon K of the Hilton Austin Downtown with some of the industry’s leading next-gen audio experts, including Google’s Jani Huoponen, group product manager for immersive audio, Mirko Vogel, general manager, Canada, for Vaudeville Sound Group, and Sylvana Levy, founder of SLX Group.
Jani Huoponen detailed the development of Eclipsa, the audio format born out of the Open Media Alliance’s Immersive Audio Models & Formats (IAMF) specification for next-generation immersive audio.
Mirko Vogel detailed Vaudeville Sound Group’s approach to immersive audio for a range of media formats.
Sylvana Levy discussed producing immersive audio for experiential installations.
IMMERSIVE SOUND: HOW TO CREATE POWERFUL EXPERIENCES
Immersive sound enables unparalleled connections between users and enhances experiences. A new generation of immersive sound technology includes sound objects, which are multichannel sound files captured and designed with specific techniques. These 3D sound environments complement visual experiences with immersive, or spatial, audio that enhances a wide range of industry products and services, including virtual and augmented reality, auditory healing for healthcare, architecture design, automotive design, media, entertainment, and many others.
Chris Pfaff moderated an expert virtual panel for Streaming Media Connect, on February 27, 2025, ‘App, Crackle, Pop: What a Video App Really Needs,’ with Bruno Giner, NPAW; Ankit Awasthi, Amazon Prime; Deirdre Magrane, Tubi; Tom Hurlbutt, Crunchyroll, and Jason Williams, Plex.
THU5: App, Crackle, Pop: What a Video App Really Needs
Moderator: Mr. Chris Pfaff
Jason Williams, Plex
Tom Hurlbutt, Crunchyroll
Deirdre Magrane, Tubi
Ankit Awasthi, Amazon Prime
Bruno Giner, NPAW
What makes streaming apps pop? Support across multiple platforms is a critical feature, of course. But when it comes to building sound, seamless, and satisfying user experiences, what are streaming users really asking for? How are expectations changing in the age of AI and in an increasingly fragmented consumer streaming market? Join this panel of CX strategists, streaming app designers, and product managers to learn the latest on what makes and breaks a streaming app in 2025.
A grotty day in Times Square could not keep the TV of Tomorrow Show NYC 2024 from electrifying the CTV industry.
Three views of the ‘Monetizing Connected TV’ panel leading off the event.
The ‘Monetizing Connected TV’ panel, hanging in the Stones dressing room (signed Stones’ tour posters adorn the room) at the Hard Rock, with (left to right): Jennifer Monson, fubo; Chris Pfaff, Chris Pfaff Tech Media LLC; Mark Lee, LG Electronics; David Apostolico, QVC/HSN+; Fred Godfrey, Origin, and Dallas Lawrence, Telly.
Chris Pfaff moderated the ‘Monetizing Connected TV’ panel at the TV of Tomorrow Show NYC 2024 event on Thursday, November 21st, from 9:10-9:50 am at the Hard Rock Cafe Theater, at 1501 Broadway, in Times Square. This marked the first TVOT NYC event since 2019, which made for a rather exceptional edition of the always sold-out show. And, to top it all off, November 21st was World Television Day! What perfect synchronicity!
Joining Pfaff on the session were all-star panel of experts in the CTV space, including Dallas Lawrence, CSO, Telly; David Apostolico, chief distribution officer, QVC/HSN+; Fred Godfrey, CEO, Origin; Jennifer Monson, VP, Sales, Fubo, and Mark Lee, head of North American content business development, LG Electronics.
With Connected TV (CTV) advertising projected to be the fastest-growing segment of the media landscape over the coming year, this session will explore how CTV is giving rise to new monetization opportunities through interactive ad formats, shoppable TV/tcommerce, data generation, granular targeting, and more. Panelists drawn from companies at the forefront of the fast-evolving CTV economy will address such questions as: What innovations in advertising and other forms of CTV monetization are proving effective, and why? What kinds of programming are generating the most viewer engagement with CTV advertising and commerce? And, as CTV and FAST inventory grow, how will CTV advertising and commerce opportunities evolve and mature?
Panelists include:
• Chris Pfaff, CEO, Chris Pfaff Tech Media (Moderator)
• Dallas Lawrence, CSO, Telly
• David Apostolico, Chief Distribution Officer, QVC/HSN+
• Fred Godfrey, CEO, Origin
• Jennifer Monson, VP of Sales, Fubo
• Mark Lee, Head of North American Content Business Development, LG Electronics
Chris Pfaff moderated an expert session – ‘Removing the Friction of Content Discovery on CTV’ – at the (virtual) Streaming Media Connect conference, on November 14, 2024, with the following panelists:
Katrina Kowalski, SVP, International Content Programming and Acquisitions – Pluto TV
The premise of the session was that today’s streaming providers deliver endless amounts of content, which can overwhelm viewers who are simply looking for something to watch. The content discovery process often takes far longer than viewers are willing to wait. FAST channels have the power to redefine content discoverability by using data to serve customers the content they want to watch and help them find new content based on prior viewing habits. FAST platforms have a vast amount of data available to them, but only a small amount of it is being used to its full potential. Incorporating viewership data into the content discoverability process can remove the pain points that have bubbled up in the new streaming landscape, lead to more engagement with the content, and open up more opportunities for advertisers to reach their target audiences. This session looks at the success of genre channels and provides attendees with insight into how they help their viewers find their content faster.
Chris Pfaff moderated the ‘Disrupting Fast Fashion and Saving the World’ panel at the Digital Fashion Week New York conference, on Saturday, September 7th, at 2:00 pm in the Canvas 3.0 Gallery in the World Trade Center, in New York City.
Chris Pfaff with Tatiana Alexa and Clare Tattersall
Panelists included: Krishnan Sangameswaran, from The F*Word, Miguel Huidor, from NICESTUFF Clothing, Ben Erwin, from Power Simple, and Tatiana Alexa, from Sangrove.
Chris Pfaff with Krishnan Sangameswaran, Ben Erwin, Tatiana Alexa, and Miguel Huidor
Chris Pfaff (left) and the crowd at DFW NYC (right)
Topics included; What technologies can we leverage to disrupt fast fashion from the ground up? Disrupting Hype — Creating Meaningful Consumer Relationships).
The XR crowd at DFW NYC, including Alex Coulombe, Robin Moulder, Michael Ferraro
Panel descriptor:
From virtual runways to digital printing on fabrics to NFTs and beyond, the digital fashion world has exploded since the pandemic. In this session, we will discuss how digital fashion can disrupt the traditional fast fashion model and create a more sustainable (and potentially more profitable) fashion ecosystem.
Clare Tattersall, Miguel Huidor, Tatiana Alexa, Ben Erwin, Krishnan Sangameswaran, and Chris Pfaff
The first Streaming Media East event held in New York City in person since 2019, at the east-side Intercontinental Barclay Hotel, wrapped up on Wednesday, May 22, 2024 with a bang. Chris Pfaff moderated the after-lunch blockbuster session ‘Modern Measurement: Who Counts Now? Data, Identity & the Privacy Economy’ with an all-star group that featured Paul Kontonis from Revry; Brittany Slattery from OpenAP; Jenny Wall from VideoAmp; Jesse Redniss from Qonsent; Ian Ivins from The Trade Desk, and Dan Rosenfeld from DIRECTV.
The panel, held the week after the upfront and IAB Newfronts, spoke to the reliance on data targeting with ever-increasing focus on brand safety. As Jenny Wall said during the session, “the revolution is here, and we are ready to live in a multi currency world.”
Chris Pfaff moderated the 'How to Create Immersive 3D Stories with Real Humans' panel during SXSW 2026 on Monday, March 16th at 4:00 pm at the Austin Marriott Downtown in the Waller Ballroom A. Joinin...
