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HDR in Production, Bristol is brought to you by TELEVISUAL in partnership with our sponsors.

—— Many thanks for their support ––––

ABOUT HDR in Production, Bristol

Thursday 3rd October 2019 from 9.00am – 5.30pm

The Everyman Cinema, 44 Whiteladies Rd, Bristol BS8 2NH

Televisual’s HDR in Production is a free to attend event comprising three 90minute panel discussions for you to choose one from exploring best practice HDR and Atmos HE production do’s and don’ts, workflow and technology choice from on-set to final master. The sessions have been tailored to the needs of Indie and freelance production staff tasked with delivering HDR content and to post production and Indie (technical) resource managers.

The invitation is to attend the *one session* that is most relevant to you and most closely matches your knowledge requirements. From a time planning point of view including registration, session attendance and our further offer in the foyer, this should occupy from two to two-and-a-half hours. (And we’re told time very productively spent.) Each session will give you practical and immediately applicable advice and insight while being topical and about current thinking and points of change. You can find full session and speaker details and timetable by scrolling down this page.

We further invite you to see a beautiful short demo film in multiple formats that uniquely articulates how the same content looks different at multiple stages along the post path and a direct comparison of what the consumer sees in HDR and standard dynamic range (SDR). The comparisons includes:

  • Projected in the Everyman cinema in P3 colourspace as a DCP

  • An illuminating side-by-side comparison of SDR and HDR, graded and mastered with the Dolby Vision conversion and trim pass. They are encoded (as IMFs) exactly as they would be for Netflix 4K delivery and seen on identical 4K (HDR) consumer televisions

  • as 4K DPX on Sony reference monitors (the BVM-X300 and the new BVM-HX310) within a grading environment along with some test and measurement analysis

  • as ProRes422 3840x2160.movs in SDR and HDR on the new Atomos Neon monitor/recorders

And in the same foyer you can catch up with our speakers, peers and other technology experts over a coffee or drink.

This event has two mirror sessions (one in the morning, one in the afternoon) for heads of production and resources, production executives and senior freelancers (particularly PPSs, PMs, cinematograophers and DoPs) post workers about current best practice HDR workflow options from on-set through graded master

In the middle of the day we have XXXXXXXX

The offer is for you to attend the session or sessions that are most relevant to you, rather than attending the full day. With the event being staged on Whiteladies Road in the beautiful Everyman Cinema, we’ve deliberately made it as easy as possible for you to attend.

Registration is essential. This is an upstream event for Indie and broadcaster senior production staff and freelancers post-production management and senior operators and – we’re inviting

Typical job titles of those who have historically attended from post include MDs, CTOs, colourists, and re-recording mixers. And for the last session of the day we’re inviting senior production staff (MDs, Heads of Production, PEs and PMs) and freelancers (PPS’s, Producers, Directors and PMs).

We have three compelling main panel sessions (in reverse order) covering:

  • Morning & Afternoon - “Mastering for Netflix” – where our exceptionally talented panel share best practice creative and technical advice covering on-set data management, 4K HDR grading, VFX and Atmos HE mediated for a production audience

  • Lunchtime only - HDR from On-Set to Final Master – 4K HDR workflows are not as robust as they might be and there’s an increasing focus on bridging the disconnect between capture and post for more efficient workflows and ultimately better results.

You can find full session and speaker details and timetable by scrolling down this page.

The content for the midday session is relatively technical while the morning and afternoon sessions require less technical knowledge with an agenda and passion to share and inform best practice creative and technical advice.

You will leave with practical, immediately applicable advice and understanding and plenty of creative inspiration too!

CONNECT WITH YOUR COMMUNITY

You can catch up with your peers and our assembled technology experts over drinks before and after the sessions.

Registration is essential and given the event's historical popularity in London, we encourage you to register early to avoid disappointment.

HDR in Production is ultimately about sharing technical and creative knowledge to inform the UK production and post community where our collective production skillset will ensure our collective international success

We are always better together

BOOK YOUR PLACE

HDR IN PRODUCTION, BRISTOL - TIMETABLE, FULL SESSION & SPEAKER DETAILS

All of the sessions lead on best current and future practice and production knowledge and explore areas of change. What's new? What's changing and what's already changed? Where are the opportunities and what are the challenges?

3.00 - 4.30pm   MASTERING FOR ‘NETFLIX’: 4K HDR, VFX & ATMOS HE – WORKFLOW, TECHNICAL & CREATIVE INSIGHT FOR LESS TECHNICAL PRODUCTION MANAGEMENT

Netflix is often referred to as the broadcast Gold Standard. But high-end production values are also increasingly in demand from other broadcasters and publishers (like Amazon, Starz and Sky).

This session is explicitly intended for a (changed) broader, less super-technical audience including Indie senior management, HoPs, PPS’s and senior production workers. Netflix representatives will also in attendance.

Our intention is to articulate and summarise best practice with immediately applicable and practical insight and advice from an extraordinary panel of creative talent. The session will cover what you need to ask for and put in place from on-set (monitoring, lighting, LUTS, CDLs, dailies, colour management and metadata), preparing for VFX (including new on-set technology, what metadata and previs), through post workflow (ACES and EXR) including both the HDR grade (do’s and don’ts and Dolby Vision automation) and audio mix (what to bring in for Atmos HE) ahead of final mastering.

Although referencing technology this is a presentation by creatives from start to finish, including what constitutes good-looking 4K HDR and great sounding Atmos HE, while also commenting on production efficiencies and economies so the production budget is spent on a better creative execution.

And we’ll show you content so you can see and hear what we’re talking about.

You should walk away with practical knowledge you can immediately apply on this or your next production. We’re looking to demystify processes and inform, not overwhelm with technical jargon.

And there’s a passion to elevate UK production knowledge and production values from Televisual and all of our speakers.

We couldn’t ask for a better panel – their credentials are second to none and they are all excellent presenters too:

* Pablo Garcia Soriano, Head of Colour at Mission (Cats and Criminal for Netflix, as well as Downton Abbey, the movie and being HDR Supervisor for the 2018 World Cup)

* Asa Shoul, Colourist at Warner Bros De Lane Lea (The Crown for Netflix as well as the features Mission Impossible: Fallout, Baby Driver and Ex Machina)

* Richard Addis, Head of Audio Operations at Halo Post (The Planets for BBC, The Great Barrier Reef and Conquest of the Skies for Sky)

* Kevin Shaw, CSI Colorist, Instructor and Consultant on Colour Management (for companies including Dolby, BBC Digital Media Services, Kodak labs and CBS Broadcast)

CHAIR: James Bennett, Managing Director, Televisual

12.15 - 1.30pm     HDR FROM ON-SET TO FINAL MASTER: PRODUCTION & POST EFFICIENCIES

HDR is increasingly in demand with more and more HDR content of varying quality on our screens – often adding some magic, whether viscerally (like One Planet) or more subtly (like Black Mirror) while at other times looking clumsy and overcooked.

At the last Future of Post event much of the HDR debate focused on the apparent disconnection between production and post. Some post houses are getting increasingly involved in on-set data preparation while DIT services are becoming more evolved to come the other way, including dailies, colour management, VFX metadata and now even centrally managing previs.

HDR is more unforgiving than SDR and particularly at the point of capture. Is there a disconnect between lighting for SDR or HDR if delivering for both? What constitutes best practice monitoring and on-set colour management? Are on-set LUTs a help or too pre-determined? How should HDR integrity be measured on-set and what assets does the post house ideally want?

What is the function of ACES - is it the only ‘logical’ way to go and how do you get there? Should editorial work in Rec2020 and is it affordable? How accurate or desirable are automated cross conversions and to what extent does Dolby Vision successfully automate this process? And are there automation products available to the DIT? What are the current monitoring options in post – and is there reasonably priced monitoring available for editorial? What test and measurement products and third-party support is available (from grade to third-party)? What is post required to complete for QC and file delivery?

Our panelbrings in the DIT voice (and on-set colour management) as well as the post-production voice, along with vendor technical experts:

* Ian Lowe, Head of Sales, EMEA at Dolby

* Richard Warburton, Technical Director at Global (for Atomos & Symply)

* Bryce Button, Product Marketing Director at AJA

* Richard Wilding, CTO at Molinare

* Pablo Garcia Soriano, Head of Colour at Mission

CHAIR: Kevin Shaw, CSI Colorist, Instructor and Consultant on Colour Management

There will be plenty of time to ask questions of our assmebled panel after the main discussions.


3.00 - 4.30pm   MASTERING FOR ‘NETFLIX’: 4K HDR, VFX & ATMOS HE – WORKFLOW, TECHNICAL & CREATIVE INSIGHT FOR LESS TECHNICAL PRODUCTION MANAGEMENT

Netflix is often referred to as the broadcast Gold Standard. But high-end production values are also increasingly in demand from other broadcasters and publishers (like Amazon, Starz and Sky).

This session is explicitly intended for a (changed) broader, less super-technical audience including Indie senior management, HoPs, PPS’s and senior production workers. Netflix representatives will also in attendance.

Our intention is to articulate and summarise best practice with immediately applicable and practical insight and advice from an extraordinary panel of creative talent. The session will cover what you need to ask for and put in place from on-set (monitoring, lighting, LUTS, CDLs, dailies, colour management and metadata), preparing for VFX (including new on-set technology, what metadata and previs), through post workflow (ACES and EXR) including both the HDR grade (do’s and don’ts and Dolby Vision automation) and audio mix (what to bring in for Atmos HE) ahead of final mastering.

Although referencing technology this is a presentation by creatives from start to finish, including what constitutes good-looking 4K HDR and great sounding Atmos HE, while also commenting on production efficiencies and economies so the production budget is spent on a better creative execution.

And we’ll show you content so you can see and hear what we’re talking about.

You should walk away with practical knowledge you can immediately apply on this or your next production. We’re looking to demystify processes and inform, not overwhelm with technical jargon.

And there’s a passion to elevate UK production knowledge and production values from Televisual and all of our speakers.

We couldn’t ask for a better panel – their credentials are second to none and they are all excellent presenters too:

* Pablo Garcia Soriano, Head of Colour at Mission (Cats and Criminal for Netflix, as well as Downton Abbey, the movie and being HDR Supervisor for the 2018 World Cup)

* Asa Shoul, Colourist at Warner Bros De Lane Lea (The Crown for Netflix as well as the features Mission Impossible: Fallout, Baby Driver and Ex Machina)

* Richard Addis, Head of Audio Operations at Halo Post (The Planets for BBC, The Great Barrier Reef and Conquest of the Skies for Sky)

* Kevin Shaw, CSI Colorist, Instructor and Consultant on Colour Management (for companies including Dolby, BBC Digital Media Services, Kodak labs and CBS Broadcast)

CHAIR: James Bennett, Managing Director, Televisual

REGISTRATION IS ESSENTIAL

You don't need to come for the full day but you do need to register for the sessions you'd like to attend at "BOOK NOW".

The Everyman Theatre holds 85 people so attendance is limited and we kindly ask that you register in advance. This is not a come one, come all event but one only intended for production and post professionals. There is limited above the line promotion.

Please arrive at least ten minutes before your session is due to begin.

Promotion for HDR in Production is deliberately close to the event to avoid attendee attrition. We recommend you register early to avoid disappointment. (The last two events have both been over-subscribed.)

Drinks and snacks will be served throughout the day and there's plenty of time to see some of the product solutions and demonstrations in the main foyer and to catch up with our assembled technology experts and your peers before and after each session.

We want you to take an active part in the discussion, so please come armed with your own questions, challenges and concerns. HDR in Production is an opportunity to get up to speed with how Indies, freelance production workers and post companies are embracing HDR and Atmos Home Entertainment as well as to hear (and see) what's coming through and to directly address the fast changing business environment in which broadcast, film and commercials production and post operates.

Above all HDR in Production is about sharing knowledge across the UK production and post communities.

We are always better together.

BOOK YOUR PLACE