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

—— They make it possible and add considerable value to your visit ––––

About HDR in Production, Bristol

Thursday 3rd October 2019 from 9.00am – 6.30pm

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

PANEL DISCUSSIONS * THE VERY LATEST TECHNOLOGY * CONTENT DEMONSTRATIONS * NETWORKING

BEST PRACTICE PRODUCTION & POST FOR HIGH-END PRODUCTION

Televisual’s HDR in Production, BRISTOL is a free to attend event comprising three 90minute panel discussions for you to choose one or at most two from exploring best practice HDR and Atmos television and film production do’s and don’ts, workflow and technology choice from on-set to final master. You can also see the very latest kit for high-end content delivery including first sight in the UK of the new Sony FX9 and first sight of the new Atomos Neon monitor/recorders (as well as being able to compare the Sony OLED BVM-X300 against the LED BVM-HX310 with Leader’s test and measurement) along with cutting edge storage from Codex, Symply and G-Tech. And we’ll uniquely show you HDR compared to Standard Dynamic Range (as if for Netflix delivery) as well as many iterations of HDR in different capture and post formats. Its also a great opportunity to catch up with your Indie and production staff peers in a friendly, ‘knowledge sharing’ environment.

HDR in Production, Bristol follows Televisual’s exceptionally well attended and popular Soho technology events. Televisual has been running the events at the Dolby Theatre for the past three years with the last event being attended by over 35 post houses at CTO or MD level and more than sixty Indie executives.

The expert panel-based sessions have been tailored to the needs of Indie and freelance production staff tasked with delivering HDR content and a more technical articulation for post production and Indie (technical) resource managers.

The invitation is to attend the *one or at most two sessions* that are most relevant to you and most closely match 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.

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, cinematographers and DoPs) and less technical post workers about current best practice HDR workflow options from on-set through graded master. There’s a more technical session over lunch for more technically minded post and Indie resource management.

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

In the foyeR

SDR and HDR DEMOS, Sony’s NEW FX9, A GRADING SUITE & MODERN Storage

We further invite you to see a beautiful short 4K HDR demo film in multiple formats that uniquely articulates how the same content looks different at multiple stages along the production and post path and a direct comparison of what the consumer sees in HDR and Standard Dynamic Range (SDR). The comparisons include:

  • Projected in the Everyman Cinema in P3 colour space as a 4K 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 Leader’s test and measurement analysis

  • as ProRes422 3840x2160.movs in SDR and HDR on the new Atomos Neon monitor/recorders, where at the point of posting we were going to show the 17”, 24” and 31” monitors.

We are excited to also announce that you can be one of the first in the UK to see the new Sony FX9 in its first week in the UK. IBC was rightly buzzing about Sony’s new Full Frame (downsampling to 4K) compact camera with autofocus and facial recognition along with a built in variable ND and a host of developments. You can also experience Sony’s flagship VENICE that has become a, if not the, de facto standard for high-end 4K drama production and feature films. Absolutely not to be missed.

And in the same foyer you can find a variety of the very latest on-set and production storage including from Codex (bringing their new super-fast Media Vault), Symply (as recommended by ARRI and now widely used at the high-end on-set and in post) and G-Tech (with their Shuttle and beautiful mobile R series drives) while catching up with our speakers, your peers and other technology experts over a coffee or drink.

WHO SHOULD ATTEND? / REGISTRATION

If you work in an Indie or post company delivering high-end HDR, complex VFX or Atmos content, this event is for you.

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 - “High-End Production Masterclass” – where our exceptionally talented panel share best practice creative and technical advice covering on-set data management, 4K HDR grading, VFX and pre-vis and Atmos mediated for a production and on-set audience ranging from heads of production to DoPs, DITs and PMs

  • 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 lunchtime 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.

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.

You will leave with practical, immediately applicable knowledge 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, Bristol 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 and post knowledge and explore areas of change. What's new? What's changing and what's already changed? Where are the opportunities, what are the challenges and what constitutes best practice?

We recommend you attend one OR at most two sessions, depending on your technical knowledge and where the first and last are less technical and the lunchtime session much more so.

9.45 - 11.15am   HIGH-END PRODUCTION MASTERCLASS: 4K HDR, VFX & ATMOS HOME ENTERTAINMENT – BEST PRACTICE, WORKFLOW & CREATIVE INSIGHT FOR LESS TECHNICAL PRODUCTION MANAGEMENT & THE PRODUCTION TEAM

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). At our last “Mastering for Netflix” session in Soho, the feedback was unanimously supportive, including praise from attending Netflix executives. If you’re working in high-end content creation, this session is not to be missed.

This session is explicitly intended for a less technical audience including Indie senior management, HoPs, PPS’s and senior production workers.

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 Home Entertainment) ahead of final mastering.

Practical? Yes, entirely. Our panel will offer direct advice about exposure, lighting, movement, what to avoid, on-set monitoring, reviews, workflow and all from a producer, creative and freelance operator perspective to help you make better looking high-end content.

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

And we’ll uniquely show you content in the foyer that directly links back to different stages in HDR mastering.

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:

* TOM MITCHELL, Technical Director, Joint Founder and supervising DIT at Mission. Tom’s role is to always be ahead on colour management from on-set through post, workflow methodologies and the latest technology (Cats and Criminal for Netflix, as well as Downton Abbey, the movie)

* PIERS LEIGHTON, Application Specialist at Codex, when he’s not running Dailies Labs on features (Spiderman: Far From Home, Breathe and Gravity). As the link between what’s captured on set and Editorial / VFX, it’s Piers’ responsibility to make sure all parties are given informed advice, when embarking on an HDR workflow

* TONY OSBORNE, Colourist at Films at 59 with many years’ experience, working across multiple genres including natural history, drama, documentary, animation and commercials. Earlier this year Tony completed a six-part series in HDR for Blue Ant Media and has recently completed three episodes of a seven part natural history series for Netflix.

* BRIAN MOSELEY, Dubbing Mixer at Films at 59, with a huge range of experience across many genres from broadcast to giant-screen multi-channel surround mixes. Brian has very recently completed delivery for an upcoming seven-part Netflix wildlife series, which was mixed in Dolby Atmos with similar deliveries with other streaming services over the coming months.

CHAIR: James Bennett, Managing Director, Televisual has extensive experience of delivering short-form HDR demo digital cinematography projects (at least a dozen) for Sony, Panasonic, Canon, Zeiss, Fujinon and many others. James is passionate about high-end production values and believes that shared knowledge across the whole UK production chain is essential for the UK’s continued inward investment and international success. (And it drives James crazy watching clumsy or inept HDR and VFX at home!)

12.15 - 1.45pm     MASTERING FOR THE HIGH-END: 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 Our Planet) or more subtly (like Black Mirror) while all too often looking clumsy and overcooked.

At the last Future of Post event the HDR debate focused on the apparent disconnection between production and post and how best to heal the divide. 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. This is a rapidly evolving change in the way we now produce and post high-end content

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? And looking forward, how are Disney and the MPS going to realise their end-to-end cloud based workflow?

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 metadata does the VFX team want and what can be done with previs? 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 panel brings 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 Content Solutions, EMEA at Dolby Laboratories. Ian works closely with leading post houses, Netflix, Amazon and others helping articulate best practice Dolby Vision HDR deliverables.

* RICHARD WARBURTON, Technical Director at Global Distribution (working with Atomos, Symply, Red Digital Cameras, Western Digital and Seagate). Richard is a regular presenter at Televisual technology events and has outstanding knowledge about HDR workflow and technology choice.

* GEORGE PANAYIOTOU, Business Development Director at Films at 59. George has extensive experience of working with complex HDR, Atmos and VFX-rich projects for Films at 59 and is widely known and respected across the local television production community.

* TOM MITCHELL, Technical Director, Joint Founder and supervising DIT at Mission. Tom’s role is to always be ahead on colour management from on-set through post, workflow methodologies and the latest technology (Cats and Criminal for Netflix, as well as Downton Abbey, the movie)

* PHIL MEAD, Post Production Supervisor at Films at 59. Phil has worked at Films at 59 for over 10 years. Phil Started at the BBC Television Centre, post producing both Entertainment and Sport, then moved to Bristol in 1999, becoming the Facilities Manager for BBC Post Production. Phil is instrumental in delivering major HDR Projects and pioneering HDR workflows.

CHAIR: James Bennett, Managing Director, Televisual has produced many short-form HDR demo digital cinematography projects working with many of London’s foremost post houses (including Warner Bros De lane Lea, Technicolor and Molinare) mastering HDR projects for interrogation at international events (like CameraImage, the BSC Expo, CineGear, IBC and NAB) by cinematographers, grading artists and vendor engineers - perhaps the toughest audiences in the world. James is passionate about high-end production values and believes that shared knowledge across the whole UK production chain is essential for the UK’s continued inward investment and international success.

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


2.30 - 4.00pm   HIGH-END PRODUCTION MASTERCLASS: 4K HDR, VFX & ATMOS HOME ENTERTAINMENT – BEST PRACTICE, WORKFLOW & CREATIVE INSIGHT FOR LESS TECHNICAL PRODUCTION MANAGEMENT & THE PRODUCTION TEAM

This is the same session as ran in the morning but with Films at 59’s Chris Domaille stepping in for Brian Mosely.

Please only book for one of the morning or afternoon sessions.

* TOM MITCHELL, Technical Director, Joint Founder and supervising DIT at Mission. Tom’s role is to always be ahead on colour management from on-set through post, workflow methodologies and the latest technology (Cats and Criminal for Netflix, as well as Downton Abbey, the movie)

* PIERS LEIGHTON, Application Specialist at Codex, when he’s not running Dailies Labs on features (Spiderman: Far From Home, Breathe and Gravity). As the link between what’s captured on set and Editorial / VFX, it’s Piers’ responsibility to make sure all parties are given informed advice, when embarking on an HDR workflow

* TONY OSBORNE, Colourist at Films at 59 with many years’ experience, working across multiple genres including natural history, drama, documentary, animation and commercials. Earlier this year Tony completed a six part series in HDR for Blue Ant Media and has recently completed three episodes of a seven part natural history series for Netflix.

* CHRIS DOMAILLE, Dubbing Mixer at Films at 59, with over thirty years experience in Bristol getting to work on some of the best animation, drama and natural history productions. Chris’ recent Dolby Atmos credits include the BBC’s Dynasties, One Planet, Seven Worlds and numerous other shows for high profile broadcaster such as Netflix.

CHAIR: James Bennett, Managing Director, Televisual has extensive experience of delivering short-form HDR demo digital cinematography projects (at least a dozen) for Sony, Panasonic, Canon, Zeiss, Fujinon and many others. James is passionate about high-end production values and believes that shared knowledge across the whole UK production chain is essential for the UK’s continued inward investment and international success. (And it drives James crazy watching clumsy or inept HDR and VFX at home!)

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 London events have all 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, Bristol is an opportunity to get up to speed with how Indies, freelance production workers and post companies are embracing HDR, Atmos Home Entertainment, complex VFX projects 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, Bristol is about sharing knowledge across the UK production and post communities.

We are always better together.

BOOK YOUR PLACE