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–––– The Future of Post is brought to you by TELEVISUAL in partnership with our sponsors. Many thanks for their support ––––

ABOUT THE FUTURE OF POST?

The Future of Post

Tuesday 2nd July from 9.00am – 5.30pm

The Ray Dolby Theatre, 4-6 Soho Square, London W1D 3PZ

The Future of Post is a bi-annual, by invitation free to attend event comprising three 90minute panel discussions for you to choose from exploring best practice workflow and technology choice from on-set to final master. The sessions are always practical and immediately applicable while being topical and about current thinking and points of change. This July’s event has two sessions for post workers about the opportunities within virtual post and current best practice HDR workflow options from on-set through graded master and one for production executives and senior freelancers.

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 in Soho Square, we’ve deliberately made it as easy as possible for you to attend. The venue is part of the offer with one of the most impressive theatres in the UK for HDR and Dolby Atmos presentations. (The picture and audio quality is truly remarkable.)

While in the Dolby foyer you can catch up with our speakers, peers and other technology experts over a coffee or drink while giving you a chance to see the latest HDR monitoring displays (Sony’s new BVM-HX310 at the very high-end and Atomos’ new Neon range for a more budget conscious use) as well as running an almost perfect HDR demo film side-by-side with its standard dynamic range Dolby Vision conversion.

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

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:

  • “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

  • 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

  • Post Virtualisation – exploring the business benefits, customer offer and required technical infrastructure

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

Televisual has gathered many of the leading creative and technical voices to share essential and up-to-date creative and technical knowledge and to articulate points of change – both opportunities and threats.

  • Pablo Garcia Soriano - HDR Supervisor at the 2018 World Cup, now working at Mission (DIT) in scripted including on-set colour management at Mission for the upcoming Downton Abbey movie

  • Asa Shoul - one of the most gifted colourists working in the UK with credits including The Crown (for which he won a BAFTA), Mission Impossible: Fallout, Baby Driver and Ex Machina now working at Warner Bros De Lane Lea

  • Michael Wrightson - with recent roles including Head of Technical Operations at ITV and CTO of Prime Focus, now a ‘virtual’ CTO at Virtual Post

  • Kevin Shaw CSI - Colourist and Colour Management Consultant

  • & Richard Wilding - CTO at Molinare and a regular panellist at our events, not least due to his exceptional post and HDR knowledge and presentation skills

The content for the first two sessions is relatively technical while the last requires 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 we hope 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. Senior Netflix representatives will also be at the event.

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

The Future of Post 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

THE FUTURE OF POSt - TIMETABLE, FULL SESSION & SPEAKER DETAILS

All of the sessions lead on best current and future practice 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?

9.45 - 11.00am      VIRTUALISATION IN POST: ARE WE READY?

Avid Media Central has felt like a just-about-to-happen offer for some time and the required technology bits of the puzzle are well evolved (and in increasingly widespread use in other disciplines that are more demanding of file transfer speeds).

There’s an immediately attractive service proposition for many production customers – particularly the smaller and often regional Indies - including pop-up post services where and when they’re required and passed-on economies based on Opex rather than Capex.

While virtualisation offers post a scalable and flexible alternative where the outlay is on creative services rather than storage or, for example, otherwise often idle but expensive IMF delivery, transcoding or re-versioning hardware and software. 

What ‘joined-up’ infrastructure do you need to make it happen? What is on offer from the vendors? What services are now cloud-based and how robust and secure are they in practice? And at which point is it practical?

What is the demand for virtualised post from the production companies? Is virtualised post going to become commonplace in the near future and what might it look like? There’s been a historical resistance from post companies who’s business model has been based on retaining the creative work on-prem from ingest to master. Are we now at a point where the virtual post model has come of age and will this create demand and force change?

We have two very current case studies from those who have embraced a more cloud-based post production model from Virtual Post and ITN Productions.

Our panel includes:

* Michael Wrightson, Chief Operating Officer at Virtual Post

* Declan Hogan, Group Technical Director at Tyrell CCT

* Davide Maglio at Ownzones

* Olly Strous, Head of Post Production at ITN Productions

CHAIR: Jess Nottage, CTO at Clear Cut Pictures

12.30 - 2.00pm     HDR FROM ON-SET TO FINAL MASTER: PRODUCTION & POST EFFICIENCIES

* THIS SESSION IS NOW OVER-SUBSCRIBED. IF YOU HAVE A SENIOR ROLE WITHIN POST, PLEASE EMAIL JAMES@TELEVISUAL.COM AND I’LL ENDEAVOUR TO MAKE A SPACE FOR YOU *

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

* THIS SESSION IS NOW OVER-SUBSCRIBED. IF YOU WORK FOR AN INDIE OR HAVE A SENIOR FREELANCE ROLE WITHIN PRODUCTION, PLEASE EMAIL JAMES@TELEVISUAL.COM AND I’LL ENDEAVOUR TO MAKE A SPACE FOR YOU *

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 Ray Dolby Theatre holds 68 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 post and production professionals. There is no above the line promotion.

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

Promotion for The Future of Post 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. The Future of Post is an opportunity to get up to speed with how post companies are embracing recent technology developments 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 post operates.

Above all The Future of Post is about sharing knowledge across the UK post and production communities.

We are always better together.

BOOK YOUR PLACE