A leading panel of international location managers offer their insight into pre-production planning, on location logistics, insight into handling issues on location.
With one eye firmly on the future, post-production house owners and managing directors discuss the UK post market, covering a range of topics including new technology trends, skills and training, the ‘death’ of Soho and leaving the EU.
This year’s key theme at the show is to empower future talent to ensure we give them the right training, nurture their creativity and help them to reach their full potential so enabling the UK content creation industry to go from strength to strength. Nik will use his own experiences as a producer and as head of the NFTS to talk entertainingly about some of the more unusual as well as the usual ways this might be done!
An exclusive interview with the award winning writing duo Harry & Jack Williams who credits include the BBC hit dramas ‘The Missing’ and ‘One of Us’ plus the multi-award winning BBC 3 comedy ‘Fleabag’. We will explore their creative processes for writing and producing on the above projects and the recent announcement of their new partnership with All3Media and what the future holds.
Over the last few years there have been huge developments within the immersive marketplace; 2016 was billed as the year of VR and saw lots of new capture and display hardware come to market, the PR around the content, the medium and the technology hasn’t stopped – but should we believe the hype? Is VR going to be as big as everyone is predicting, where is the return on investment when content creation is so expensive and what are the technologies of future.
The audiovisual sector emits about 1 million tonnes CO2 equivalent into the atmosphere each year, of which about a quarter is directly related to filming
The panel will explore how adopting environmental best practices and utilising the latest technology can help a production become more sustainable, access finance whilst also increasing efficiencies and improving cost control.
A panel of film editing experts discussing how much time they spend in the dark, time restraints, technology advancements and the art of editing a film across many genres.
10 years in the making, the spectacle of BAFTA award-winning ‘Planet Earth 2’, was simply stunning and revered around the world as perhaps the greatest natural history series ever made. We will take a look at how this series was made across production and post and how it brings us closer to the natural world.
An expert panel lined up ready to talk you through their high profile sports projects and delivering live sports to multi channels around the globe.
Three facilities up close and personal with David Reviews’ Editor Jason Stone, talking the audience through their latest VFX heavy spots with a breakdown of the shots looking closely at techniques used, challenges faced and ultimately revealing how on earth they did it!
Is audio more important than video on your production? When shooting content it’s important to give significant attention to both the audio and visual aspects of your content because, believe it or not, the audio is just as important (if not more important) than the video. This expert panel will give you the low-down on what you need to plan for superb audio quality on your next shoot.
Explore with Marcin Siebab, Global IT Manager at Happy Finnish and Elliot Graves, 360 Director of Photography on how their mission “Everything is Possible” is turned into 360 degree reality. Some pretty cool technology is used along the way underpinned by ELEMENTS GRID – a new offering from ELEMENTS Media Storage.
A fascinating case study into digital engagement strategy of the BRIT Awards with the audience in run up and during the event main event. Offering you plenty of ideas and inspiration into how elements of this strategy could be implemented into many forms of content generation to drive interest and engagement to viewers.
How can producers best exploit the growing number of opportunities online? Whether they come from OTT operators like Amazon or Netflix; broadcasters’ own online only propositions such as All4 and BBC3 or You Tube’s vast array of Multichannel networks (MCNs) what are the opportunities?
This session looks at what content is working best on each of these channels, how the commissioner/producer relationship works and how production companies can turn creating online content into a sustainable business proposition.
Cine Photo Pro deliver a direct approach to stills and motion.
Using the highest level cinematic and stills equipment along with post production solutions to create content for photographers and creatives. We take direction from your team to create moving image and stills that work seamlessly within your campaign.
Using the right equipment and the latest post-production techniques… We help you make it possible.
We were approached by Mary McCartney in early 2017 to discuss a project at the BRIT’s awards held in February. Mary had previously shot photographic portraits of the 2016 Winners & VIP’s … For 2017 Mary wanted to shoot motion portraits!
RED 8K was the only choice… Unparalleled 8K motion with the capability of pulling high quality 24MP stills from the motion. With the help of RED Digital Cinema we helped Mary make it possible!…
Can we harness the untapped power of our mind to maximise creativity on our timelines? Is it possible to use modern psychology to access our enormous artistic potential? These are just a few of the questions answered during Inside The Edit’s new masterclass at The Media Production Show 2017.
Primetime level editors have to watch a mountain of uncut footage and craft into a logical, compelling and dramatic narrative in very little time. There are thousands of structural and dramatic possibilities in any one film and so training your mind see which one is best sets you apart from the crowd.
Join Inside The Edit Founder Paddy Bird as he takes you on a fascinating journey through different creative mindsets and their practical application in high end television.
A group of award-winning trailer-makers explain the post production skills needed to take crafted feature films and turn them into arresting sales tools that deliver record-breaking audiences, while staying true to the filmmakers’ vision. How do they craft the sequences to target specific audiences across so many media outlets? What skills and experience are needed, what are the trends and how do you make your trailer stand out from the crowd?
In a highly innovative new natural history series, Spy In The Wild deployed more than 30 ultra-realistic animatronic Spy Creatures to go undercover into the animal world. This BBC One documentary series captured unique animal behaviour on film, closer than ever before.
The role of a colourist needs to have many qualities to succeed including understanding the psychological effect of colours and the effect of colour on the narrative and a strong understanding of the post production process. This expert panel of will discuss their recent projects and what makes a renowned colourist.
Whether you are shooting a documentary, a short film or a youtube feature we are here to guide you through the choice of camera, lighting, media and accessories you can use to shoot on a limited budget.
This session will outline case studies on media companies that have replaced existing and often cumbersome content sharing techniques with more efficient, cost-effective collaboration solutions to overcome the challenges of ingest and distribution of sharing large media content by working with Aspera. It will examine how secure transfers are provided at maximum speed in predictable times, over any distance independent from storage location.
Rig shows have become a huge part of factual television. From Educating… to First Dates the process of installing a rig into a location and keeping most of the filming team out of the room with subjects makes for a specific type of programme and a level of choice in material previously unavailable. So what it is like directing a rig show and how is it different to other types of factual filmmaking? What skills do you need as a director to successfully lead a team operating in different spaces? Sophie Jones, Paddy Wivell, John Douglas, Stu Bernard talk about their experiences of using rigs to make primetime factual TV.
With the UK’s VFX and post-production industries leading the global marketplace, they are key creative skill sets which the UK can offer to international producers, which has been proven in recent years through a number of key awards presented at the Oscars and BAFTA’s to talent hear on home turf.
This very talented panel will be talking through their latest work on the highest profile series of the last year and share their thoughts and skills on how the UK leading the way in VFX in the creative industries.
BT Sport is set to make broadcast history with an incredible new range of viewing experiences as it prepares to show the UEFA Champions League and UEFA Europa League finals free-to-air once again.
Absolutely anyone can watch both games online via the acclaimed enhanced video player right here on BTSport.com or the BT Sport app, as well as on YouTube and our BT Sport Showcase HD TV channel.
For the first time ever, the UEFA Champions League final will be available in 360° virtual reality, with a number of streams available on YouTube and the new BT Sport Virtual Reality App.
This unmissable experience will allow fans to choose between a 360° produced programme with commentary and graphics or select their own camera viewpoint*.
Another pair of unprecedented moves will see the biggest game in world club football shown in 4K UHD on YouTube** and in 4K UHD with Dolby Atmos sound on BT TV.
Andy Beale, Chief Engineer is here to show you how is was done from planning to execution.
A practical session, with a panel of post-production experts, to provide a step by step guide to planning and budgeting for successful HDR post production, from managing the rushes at the shoot through to delivering the specific deliverables needed, considering each step along the way.
What’s going on with sound in TV Drama? Why do so many viewers regularly complain about audibility? Is it the fashion for authentic performance or is it the technology that’s at fault or both? In this session, we will hear opinions from sound professionals and producers, as we try to eliminate the red herrings and seek out the root causes of unintelligible dialogue.
‘Sherlock’ produced by Hartswood Films has been one of the biggest success stories for BBC drama in recent years. It redefined drama production with spectacular special effects, VFX and cinematography to recreate a classic series for modern television viewers. This extraordinary panel will talk through many aspects of making the series since 2010.
An expert panel in delivering some of the best drama cinematography to our screens over the last year. Exploring their techniques, kit choices, pre-production planning processes these award winners will share their knowledge and insight with you.
For over 30 years, Lee Sherward has directed the 2nd unit, co-ordinated and performed in over 120 feature films, thrilling audiences worldwide and delighting directors with his ability to deliver breath-taking action sequences. In this high octane session Lee will be sharing with you some of his most memorable work and how he makes it happen.
A collection of the best TV editors who have worked on some of the UK’s hottest shows over the last year
How does a national broadcaster track and manage its content, making sure the correct version is used and that delivery to the ever growing number of platforms is seamless? In this session, Clive Bishop will explain how ITV has rolled out the Entertainment Identifier Registry (EIDR) system across its content library, bringing business benefits and peace of mind to production and delivery process.
With a growing UK VFX industry and a shortage of artists this panel will discuss how to nurture the supervisors of the future. What’s are the right courses to ensure artists are both industry ready and technically qualified? How does this new talent make that first break into the industry and how do facilities nurture and develop artist’s careers? Expert panel from with opinion from both education and facility.
We are delighted to welcome this exciting panel of young content producers and their business partners who created Raucous Productions in 2015. Youtube stars and internet sensations, Caspar Lee & Joe Suggs have an online channel with over 10 million subscribers and 1 billion views. Alongside Dom Smales, managing director of social media entertainment agency, Gleam Futures they are producing more linear TV formats with the formation of their company. A recent partnership includes the co-production of a feature-length documentary with BBC Worldwide, ‘Hit the Road’. The panel will discuss how you can make the transition from YouTube channel producer to running your own production company and finding the right partnerships with broadcasters to develop original content.
An insight into the role of the productions designer on a high end drama and how the increased use of VFX as part of the production, how they have to work in-sync and closely together to deliver the final content, seamlessly.
A panel discussion exploring the post production audio mixing, departments and methods. Sound in post is hard work and time consuming, but totally necessary in the creative process.
Live streaming is growing in popularity and some are predicting it will be one the key trends that will change the media landscape. With many of the most popular social media platforms now offering a live service, there’s huge opportunity out there. For Brands and Content Owners it’s a great way to create interaction and excitement amongst viewers and consumers. With the concept starting to gain real traction amongst consumers, expectations and audience demands are growing. This panel session will explore the importance of having professional broadcast quality content. Plus, showcase the ways in which this is enabling companies to expand their marketing reach quickly and effectively.
In this session, we will compare and contrast the various ways colourists would approach long and short form content and the differences between working with commercials clients and TV Drama clients. How does the time allowed for attention to detail differ? As drama and film are now starting to deal with High Dynamic Range (HDR), is this on the horizon for commercials? What are the new trends and what are the must-have looks in the colourists creative toolkit?
This will be an accessible non-techy session with the audience being given the power to ‘red card’ anyone on the panel if they use a buzz-word that isn’t explained.
VR is has been spoken about and used across a number of years in the media markets, but a new era is dawning where the technology is in use in homes through gaming but now breaking out into the wider market. The team behind Blend Media have a wealth of experience in the creative industries and are now working with companies to create or license premium content on VR or 360 video. So who should be looking at VR? What is the investment into 360 video content and what is the process to creating the content from start to finish? This panel will help you fill in the blanks when it comes to thinking about your future VR/360 project.
TriForce Creative Network looks at solutions to the ever-expanding debate on representation and the media, as well as issues such as gender, sexuality and the socio-economic climate. The TCN focus on creating opportunities for everyone, regardless of background, and offer practical ways to create a more inclusive industry – both for existing producers and companies. The session calls upon real-life examples to demonstrate how talent can progress.
Panel discussion around the pain-staking task of archive preservation and transferring content, restoring damaged film and new technologies available enabling us to watch historical and classic content.
Everyone knows that online content from Netflix, YouTube, Facebook and others is transforming how media is consumed. But far less is said about how it is transforming the world of production. Until now.
The DPP is the media industry’s business change network, with member companies ranging from Apple and Google to major broadcasters, suppliers and production companies. In this special session, DPP MD Mark Harrison shares the latest findings from the DPP on how the world of content creation is being changed forever by the new demands of the consumer – and the internet providers who are now supplying them.
Oscar & BAFTA VFX winners will deliver an exciting and exhilarating showcase of their award winning works and give you a little insight into the craft, technique and a multitude of hours of delivering sensational VFX across film and TV.
Documentaries can make us weep, feel nostalgic or be totally shocking as they delve into the unknown and into historical archives. This line-up of well known documentary filmmakers will share their insights into making memorable documentaries and share some of their latest work with us.
An exciting line-up of leading women who work in many different areas of the content and creative industries. Celebrating their successes and careers so far, this panel will discuss on how we can keep the debate alive on a daily basis, establishing senior roles for women and how we can encourage more women to work behind the cameras in production and post.
Some of the leading practitioners discuss the planning and craft skills needed to maximise the impact of pictures and sound in a VR or 360° environment. Featuring real life examples to explore the potential for story telling and impact in this new world environment. We will hear how VR and 360 is used in sport, by advertisers and by programme makers to enhance their content. From media flow, stitching, colour grade and sound design we will discuss best practice and how the post production industry may develop over the coming years.
A unique insight into one of the fastest growing sports, FIA Formula E – the world’s first fully electric single seater street racing championship.
From Hong Kong to New York and Mexico to Marrakesh, Formula E spotlights the specific challenges in bringing racing action from the city streets to living rooms around the globe.
A special presentation from Blackmagic Design
Big-budget dramas are big business and the high-end TV tax credit has seen a boom in the production of these shows in the UK over the past few years. In this session four directors talk about how they have worked on series such as The Tunnel, Mr Selfridge, The ABC and Broadchurch. They will discuss what it takes to direct at this level, how they lead such big operations, as well as the benefits and challenges of directing on these high-end shows.
Anamorphic: the widescreen aesthetic, the oval bokeh, the distinctive flares, the ability to render out-of-focus areas as a mesmerizing mess; these are all things many filmmakers strive for with their images. Though the anamorphic process can be difficult to understand at times, Jim Marks is here to help demystify the anamorphic technique and give you all of the resources that you need to get started shooting anamorphic.
How many times have you completed your programme and then discovered what you consider a minor change; spelling error, new title inclusion, additional audio element, closed caption amendment. Typically the element that needs changing is only relevant for a few seconds of the program but you are then confronted with the statement ‘we will have to re-render’ the program and this will take another ‘n’ hours.
Not only do we have to allow for the excessive time lost (normally not available) there are typically big costs associated to the re-render.
Thankfully there is a new evolution in file –based workflows which bring us insert editing very much in the same way we used to insert edit on tape
Join the DPP’s Andy Wilson for a panel discussion on how to manage production rushes and storage.
Find out how the BBC’s Natural History Unit manages hours of material for their biggest landmark productions, how Oomami is designing workflows to make media management easier, and how Visual Data can help you manage the long-term backup of programme content.
Plus be one of the first to experience the DPP’s latest release, an app designed to de-mystify technical jargon for production managers.
The average TV programme is eventually made into 100 versions, while the average film becomes 400 versions. A panel of experts explore the opportunity to make and deliver all the versions of a programme master in one file. The technology exists and broadcasters across the world are considering their options. How long will it be before one file contains every version of a master as standard? Is this a new opportunity for post-production specialists or a threat?
Rushes in collaboration with agency Atomic London, recently designed and developed an innovative VR experience for Cancer Research UK – one of the largest charities in the UK. Over 100,000 people have left gifts in their Wills to Cancer Research UK, funding over a third of the charity’s vital, lifesaving research. The ‘Life Garden’ was developed to celebrate and thank everyone who has left a gift in their Will to the charity in a thoughtful and inspiring way, whilst making it a memorable experience for their families and friends, and inspiring others.
Premiered at the Hampton Court Flower Show last year as part of Cancer Research UK’s show garden, users of the experience are transported to a seemingly endless field of flowers after donning an Oculus Rift VR headset. The immersive experience features more than 100,000 flowers bearing the names of supporters who have donated to the charity by leaving a legacy gift.
Utilising a combination of stereo CGI, 3d spatial audio, specially commissioned music and a variety of contemporary VR techniques, the team developed a uniquely personal experience and illustrates how VR can be used effectively as an engaging and powerful new medium.
The talk will cover:
• The design, R&D and development of the VR ‘Life Garden’ from concept to delivery.
• The challenges of developing VR experiences for live events.
• Producing for VR and how it differs from traditional media
• What we learned : ‘the good, the bad and the ugly’ of VR development.