How can producers best exploit the growing number 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)?
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.
Peter Cowley is Founder & CEO of Spirit, a company he setup with business partner Matt Campion in 2010. Spirit is a multi-platform production & audience building company. Specialising in branded content, short form content for Broadcasters, running and operating digital channels & platforms. Clients include NBCU, Sony Pictures TV, Channel4, BBC, Storm Models Management, Porter Novelli, Seven Publishing and Channel Mum.
Previous To Spirit, Peter was MD of Digital Media for Endemol UK and global head of original digital programming at Endemol International. Peter has spent his working career in content (Spirit & Endemol), internet portals & access (Freeserve / Orange), marketing (Videotron / Cable & Wireless, now Virgin Media) and advertising (BBH).
Peter is also the founder and director of Ad Tech company, Connected Ventures Ltd, a non-executive director at Dynamic Ad Insertion company Yospace and a mentor for Ascension Media, a seed investment company.
Richard is responsible for the All 4 ‘channel’ and for the commissioning of digital content at Channel 4.
Richard joined Channel 4 in 2007 and, following a successful relaunch of Channel4.com, was appointed to Head of Channel 4 Online in 2010. In 2015 he was promoted again to become Head of All 4 and Digital Content.
Prior to joining Channel 4, Richard was with Microsoft's Online Group for five years in a variety of creative and commercial roles, the last of which was Business Manager of the UK division.
He has worked in digital since 1995, has founded two start-ups and has consulted to some of the world's best known brands.
Barcroft Media was formed by Sam Barcroft in 2003 to provide editorial content to the international print media. The business aims to become the leading global provider of factual content in all forms documenting ‘the amazing side of life’. Barcroft Media’s pictures, videos and text stories appear daily across hundreds of major national and international media outlets. Content is created and curated by the company’s news desk, comprising an experienced editorial team of journalists. Barcroft Productions, is the TV production arm of the business, creating compelling programming for channels such as TLC, Channel 4 Channel 5, National Geographic Channel and Discovery.
Barcroft TV is one of the world’s top YouTube news channels with over 2m subscribers and 1.8bn channel views and is available on other digital platforms including AOL On, MSN, oNet, YouKu, and Yahoo’s GyaO! Barcroft+ creates and distributes amazing content for some of the world’s biggest brands.
lights, camera, action...but what if you only have a small budget to make your film? We will talk you through some of the best kit available to you on a budget from cameras, lighting and accessories.
Bringing together a unique gathering of heads of post houses who cover the creative spectrum of film, TV and commercials to discuss the current landscape, UK's position in the worldwide post production community and thoughts on what the future holds for the industry.
DaVinci colour correction has set the standard in post production since 1984 and today DaVinci Resolve is used on Hollywood feature films than any other solution. With more than 1,000 enhancements and 250 new features in DaVinci Resolve 12.5, Simon Hall introduces some of the new and enhanced color features, improved HDR support and powerful new effects. DaVinci Resolve 12.5 includes ResolveFX plus the new Fusion Connect that lets you send clips to Fusion for additional visual effects using Blackmagic Design’s advanced node based 3D compositing, visual effects and motion graphics software.
The Imaginarium is a leading production and visual effects company intent on the creation of compelling content for the 21st Century, with Performance Capture at its heart.
It combines the latest technology with the highest standards of execution to create the ultimate next-generation storytelling capability in film, television, video games and digital applications across all platforms. The joy of working in this part of our industry is the close relationship between character, story and artist. In the keynote, Tony will talk about and demonstrate that Film, TV and Gaming are now coming from almost the same place in terms of story and execution. Add to that the multiple new forms of distribution from the Internet to VR and AR and that relationship is even stronger. When Coldplay wanted to create a new video for their song Adventure of a Lifetime, they were able to become creatures in a jungle live in the studio and then release an amazing video created intuitively by the group to hundreds of millions of fans on You Tube.
Tony Orsten is an award-winning, innovative television director, channel executive and successful chief executive. Orsten has worked in the UK and international media industry for four decades and is an avid supporter of and investor in content creation across all media.
After working in Europe in TV and Radio with the British Forces Broadcasting Service he returned to the UK for the launch of the breakfast TV station TV-am in 1982, where as programme director, he was instrumental in shaping the format of Good Morning Britain and developing the children’s’ character Roland Rat. Then as a senior director at London Weekend Television he won a BAFTA award for Originality, awarded to Network 7, a breakthrough TV format which put ‘serious’ television on the agenda for young audiences. First Aids, the UK’s only peak time attempt at creating awareness of the AIDS crisis to heterosexual 16-34 year olds, won him an International Monitor Award as best director. Orsten then went on to re-launch LWT’s production services division as a commercial facilities business in 1988, specifically responsible for Film, PSC and Post Production. He created a vision for the company, building new facilities, hiring new staff and retraining existing individuals to work in a fully costed business environment.
In 1990 Orsten was appointed Managing Director of Chrysalis Television, part of the Chrysalis group plc. During his time there he grew the business substantially with new commissions and commercial tie-ups with sporting events such as Italian Football on C4, ITV Snooker and IndyCar racing on ITV where he secured one of the UK’s first network advertiser funded programmes. Orsten then joined Planet 24 to launch the Big Breakfast, one of the most influential live TV shows of the nineties. He directed the programme through the first two years at the height of its popularity.
In 1993 he launched a cable-only channel, Wire TV, the style and format of which set the trend for the new breed of channels on Sky and cable. In 1994 Janet Street- Porter asked him to act as launch director for Live TV, the first attempt at creating a new form of spontaneous TV channel.
In 1995, Orsten was appointed Director of Programming and then Managing Director for a brand new channel to be launched by Viacom’s Paramount Pictures – the first time a Hollywood studio had created a general entertainment channel outside the US. The channel launched as the Paramount Channel on Sky and cable. Over the next year,Orsten re-launched the channel as Paramount Comedy. The key to the channel’s on-going success was the development and creating of new original programming including Dom Joly, Leigh Francis, Sasha Baron Cohen, David Walliams & Matt Lucas, Simon Pegg & Jessica Stevenson and Armstrong & Miller. All these now well-known UK actors/writers/performers were given their first exposure on Paramount Comedy.
In 2005, Viacom’s MTV Networks International offered Orsten a new, expanded, role to develop and launch new entertainment channels outside the US. As Senior VP and Managing Director he oversaw channels on behalf of Comedy Central International. He launched channels in Spain, Italy, Poland and in the free TV market of Germany, all with a central core of local production.
In September 2006, Orsten joined the founders of Skype to develop and launch Joost, the world’s first broadcast quality television platform on the Internet. He ran the UK content team from the Joost London offices.
In November 2007, Orsten was appointed Chief Executive Officer of the Abu Dhabi Media Zone, known as twofour54 – the first content creation and media support organisation in the Arab world. He also held the position of Executive Director of the Media Zone Authority, a division of the Abu Dhabi government. He reported to the chairman HE Khaldoon Al Mubarak who is a member of the Executive Council of the government of Abu Dhabi, the CEO of Mubadala Development Corporation and Chairman of Manchester City Football Club.
The importance of quality sound in TV and film is high on the agenda for content makers today. This panel will be discussing the importance of capturing quality sound on set and why this is important to the post production process for ensuring high quality broadcast audio results for any genre of programming. This panel will share their hints and tips for working on high budget projects to those with a short time frame.
Cristina has almost 20 years experience in Film and TV Sound Postproduction. With a BA in Sound Technology and an MA in Audio Production, she worked on productions like The Good Thief, I Capture the Castle and The Constant Gardner.
In 2004 she established 5A Studios with fellow sound engineer Michael Koderisch. With a team of award winning engineers and facilities in various locations in London, they have with worked for clients like 20th Century Fox, Endemol and the BBC.
Her passion for sound was recognized by The Women’s International Film and Television Showcase in 2013 with their Inaugural Sound Award.
5A Studios recent credits include Kitchen impossible (Channel 4 TV series), Law and Order: SUV (NBC TV series) and Crossing Lines (NBC TV series) and Street Fighter: Resurrection (Netflix mini series).
Chris joined Films in 1995 as a Dubbing Mixer after seven years with the BBC’s audio team. Passionate about sound, Chris has a comprehensive knowledge and understanding of the latest technology and techniques in the audio world. He is an experienced Mixer and Editor. Chris is comfortable working in multi-channel formats, and has recently mixed in 21.1 for the BBC Earth/Sega collaboration in Japan, ORBI EARTH THEATRE.
Chris was BAFTA nominated as part of the sound team working on Blue Planet. He was part of a team that was BAFTA and EMMY nominated for the Life series in the Sound/Factual category and his mix for Life – Insects was nominated for a Panda Award in the Sound category at Wildscreen. Chris has also won a joint Missoula Award and Panda for sound design on Wildlife On One – Spiders from Mars.
His experience in animation mixing has brought him projects such as Chop Socky Chooks (Aardman Animations) which received a BAFTA Children’s nomination. He has also worked on Creature Comforts, Shaun the Sheep, Timmy Canimals.
Chris is an experienced drama mixer, having worked on Teachers, Being Human, CBBC’s The Sparticle Mysteryand SKY sitcom Trollied. He is very proud that the BBC feature The Best of Men was nominated for an RTS sound award.
The panel explore how adopting environmental best practices and utilising the latest technology can help a production become more sustainable whilst increasing efficiencies and improving cost controls. The panel will discuss strategies, case studies and highlight practical tools.
Credit: Trollied, Sky 1
Credit: Iron Sky
Whether it be gaming, beauty, parenting or simply a bunch of pranksters larking about, top social influencers are getting hundreds of millions of viewers each week. This session explores the appeal of the ‘YouTuber’ and how multichannel networks (MCNs) run by indies and digital specialists are harnessing their talent to appeal directly to key brand-friendly demographics. We hear from digital specialists about how they’re transforming content produced by YouTubers into channel propositions as well as from the talent itself – what do they think is the secret of their success?
Fleur De Force is one of the most successful beauty and fashion vloggers in the world.
She started making videos on YouTube in September 2009, and has been building her global audience ever since.
Her YouTube channel subscribers now stand at over 1.1 million bringing her into the top 1% Google-approved YouTubers in the beauty vertical.
Her chatty, informative and accessible videos see her looking at her favourite beauty/fashion trends, products and advice and currently attract over 4 million views per month and some 135,000,000 views since she started.
In addition to her YouTube channel, Fleur is an avid blogger – her blog attracts over 100,000 unique visitors per month. She has worked with some of the biggest brands in the world including Starbucks, Coca Cola, P&G and Sainsbury’s (for whom she and her husband have a weekly show on the Sainsbury’s You Tube channel).
She is a regular speaker at trade events including Beautycon and Vidcon and has been featured in Cosmopolitan, Miss Vogue, Company, Sunday Times Style and Channel 4 news. You will shortly be seeing Fleur on our TV screens as an expert on ITV’s This Morning.
Harrison Webb (known on YouTube as OmgHarrisonWebb) is a Video Blogger and Actor currently based between LA and London. Harrison attended the prestigious Sylvia Young Theatre School (where he achieved 3 distinctions in LAMDA examinations and the first Sylvia Young Award), alongside his studies Harrison continued his education by building his extremely successful YouTube Channel youtube.com/omgharrisonwebb. This led to exciting opportunities including working with Wight festival and YouTube.Beyond his own YouTube channel, Harrison continued to focus on his flourishing career in TV and film, roles to date in include The Hogfather, The Bill, and Harry Potter. He has recently worked with a number of key brands, including 20th Century Fox, Coca Cola, Tesco
What is Invisible VFX and why is it required?
Much of the visual effects work created across the industry are what you might term ‘Invisible VFX’. Though you may initially think of fantastical creatures, spaceships, battle sequences when considering VFX, it is in fact ubiquitous across film, TV and commercials. Even the most unexpected spot will involve some skilful yet discreet tinkering, though you would never actually notice. Most people would never be aware of the kind of hours that go into creating the illusions we see on screen and consider to be real… but that just means we’re doing our jobs right.
Meet Rushes award winning artists, Senior VFX Guru’s, Paul Hannaford and Brian Carbin and find out about what really happens behind those legendary glass doors at Rushes, 66 Old Compton Street. Paul and Brian have worked on countless major international campaigns for the world’s leading advertising agencies and brands. What secrets of their trade it is possible they can reveal?
The work of the director is central to any production, since it is the director who sets the vision for the production for everyone involved. We talk to leading TV drama directors to discuss their processes in pre-production planning and their techniques for being a dynamic director, once cameras are rolling.
Bruce released his first feature film Leave to Remain in 2013. It was selected for The London Film Festival and has enjoyed 7 awards around the globe. The film is a synthesis of the best of Bruce’s skills: working with fact-based material and a blend of actors he trained alongside professionals like Toby Jones. Leave to Remain was recently broadcast on the BBC.
Originally a documentary film maker Bruce has further established himself as one of the country’s leading drama directors by being the lead director for series as diverse as Our World War, ITV’s hit series Home Fires and BBC1’s multi awarded Doctor Foster with Suranne Jones.
Bruce has won 2 RTS awards, A BAFTA, 2 Broadcast Awards, 2 Griersons and been nominated 3 times for a BAFTA and once for an Emmy.
Recently he has completed Murdered by My father for the BBC with Adheel Aktar and a young cast about honor killing and is lead director for C4's new serial Born to Kill about a psychopathic teenager.
Ed Bazalgette's recent work includes Lead Director on POLDARK, BBC1's critically acclaimed ratings smash and HOUDINI AND DOYLE the FOX/ITV international co production, now airing in the US.
Ed's DOCTOR WHO episodes claimed the highest audience ratings last year. He is currently Lead Director on CLASS, the new creation from the Doctor Who universe, written by acclaimed author Patrick Ness. Ed also directed THE GUILTY for HARTSWOOD/ITV featuring Tamsin Greig and Katherine Kelly, A MOTHERS SON (ITV Studios) which received a Broadcast Best Single Drama nomination and ENDEAVOUR for Mammoth Screen. Ed’s film was the opener for the first series.
Ed has also directed Brenda Blethyn in VERA and episodes of DCI BANKS for Left Bank Pictures.
Before moving into drama Ed produced and directed documentaries. He won an RTS for his GREAT BRITONS film on Brunel, and received BAFTA nominations for his BBC2 series VENICE and SEVEN WONDERS OF THE INDUSTRIAL WORLD. For BBC1 Ed directed landmark biographical films on the lives of and HANNIBAL and GENGHIS KHAN.
He started out as an editor and received two BAFTA nominations for his editing work.
Britain's Busiest Airport from RAW TV Ltd was a successful launch on ITV in 2015. With a second series about to air , the panel will share their insights into an extremely complex planning process for filming at a location such as Heathrow Airport. The clearances, the longevity of filming to get enough material and the editing process to create 3 x 60 minute episodes will all be discussed.
Tim joined Raw in June 2012. He is responsible for overseeing Raw’s Factual development slate, with a focus on UK development. Recent commissions include Teens (C4), Freshers (C4), Heathrow (ITV1), Unexplained Files (DNI), Blackout (Channel 4) and Britain’s Oldest Family Businesses (BBC Four). He is Executive Producer on The Missing (C4)
Tim worked as Head of Development for some of Britain’s most respected production companies, including Blast Films, Century Films and BBC in-house Documentaries. He has developed a wide range of high profile factual and drama programmes including Lambing Live (BBC Two), Million Dollar Traders (BBC Two), Bouncers (C4), Scams, Fiddles and Honest Claims (Channel 4), Consent (Channel 4), Parking Mad (BBC One), The Railway: Keeping Britain on Track (BBC Two), and Corfu: A Tale of Two Islands (ITV). Tim is also a BAFTA, RTS and Grierson-nominated director – credits include Coppers series 1 and acclaimed Cutting Edge documentary Lifers.
This panel of experts who deliver and produce live sports for international distribution, will share the background and planning that goes into a successful live broadcast and how to manage the unpredictability of sports broadcasting. Trucks, cable, cameras, audio and the discussion of UHD sports delivery will be covered in the this session.
IPL Cricket broadcasting
Andrew Preece has been a member of the Sunset+Vine management team for nearly 10 years. In that time he has overseen Olympic sailing and Women’s football for the BBC as well as being Executive Producer of the outside races of the 2014 Commonwealth Games host broadcast, Project Director for Henley Royal Regatta live broadcast [the first time in 50 years that Henley has been televised] and is overseeing the groundbreaking 2017 America’s Cup coverage for BT Sport where graphic overlays on live helicopter pictures have brought a new dimension coverage of the Cup. He runs Sunset+Vine’s Technical Working Group looking at innovations in live broadcasting.
Due to technology advances over the last 5 years, 3D Projection on complex buildings, cars, theatrical stages and more has exploded. Being part of a Media Server manufacturer, we get asked daily “How do I 3D Projection Map this building? this dress? this product?”. This talk is aimed at taking you through the process of 3D Projection Mapping, from conception to show.
A panel that will debate, and share their experiences of 360-degree story telling including trials and R&D.
Chris Nundy is an Innovation Manager at the BBC and his role is designed to source and trial new technologies that can help create and augment world class content. His role puts him in the enviable position of collaborating with some of the TV industry’s best and brightest for in-house production areas Comedy, Entertainment and Events. Projects that he has delivered include a European first in 2014 with the Queen’s Christmas message filmed in UHD and broadcast on the BBC iPlayer, as well as producing two experiential 360 films from the heart of the Strictly Come Dancing dancefloor, offering the audience a never before seen perspective of the award winning show - a first for the broadcaster using this technology. Before he joined the BBC, Chris worked in production for BT Vision and IMG
Richard Wormwell has 18 years’ experience in broadcast television gained working in numerous leading roles in a global marketplace. He now works at dock10, the UK’s largest independent studio facilities based at MediaCityUK Manchester, as their Head of 360⁰ Production. dock10 produces high profile 360° content for clients such as Samsung, Warner Bros UK and the BBC both on location and in studio. Richard is currently developing the technologies to allow the integration of 360° capture into dock10’s existing infrastructure; allowing production teams to concentrate their focus on the creative content. Live 360⁰ monitoring and audio video capture supported by high end post-production facilities including edit, dub, grade and VFX allow for a seamless 360⁰ workflow from capture to delivery.
Henry Stuart is the co-founder and CEO of Visualise, an award-winning virtual reality production studio founded in 2012. A pioneer in the VR industry since 2006, Henry is regularly invited to speak at international events and is a regular contributor for national newspapers, TV, advertising, marketing and trade journals. Over the past 4 years Visualise has produced over 60 VR experiences for clients including Thomas Cook, BBC, Vodafone Foundation, Audi, Oakley, Samsung, Wimbledon, Doctors without Borders, Sony, O2 and many more.
Specialising in Virtual Reality since 2014, Chris McKeeman established Frameless VR in early 2015. The company builds upon over 25 years of experience within the creative media sector of TV & digital advertising, CGI, visual effects & media distribution to provide a wide range of VR services. Over the past few years he has been working directly with company owners and managers, both in UK and internationally, to develop and implement strategic sales and business development plans.
Anthony Geffen is one of the world’s leading documentary and film producers. His multiple accolades include being the first film-maker to win two Best Specialist Factual Academy Awards (BAFTAs) and eight American Emmys.
Anthony’s recent productions for the BBC include: the triple Emmy-winning series First Life (BBC/Discovery), and the four part series Inside the Commons which was broadcast on BBC2 to critical acclaim. Earlier this year he produced the landmark three part BBC1 series Great Barrier Reef with David Attenborough, to be broadcast in over 180 countries.
Anthony worked at the BBC for 10 years before setting up Atlantic Productions in 1992. The company has grown to include 3D, CGI, apps and Virtual Reality (VR). He has been a leading innovator in multi-platform storytelling in 3D, 4K and CGI and is currently developing content across new VR platforms through Atlantic’s award winning division Alchemy VR.
Alchemy is regarded as one of the world’s leading non-gaming VR companies, and has produced the acclaimed museum experiences First Life VR, which won the Museum & Heritage award for Innovation in 2016, and Great Barrier Reef Dive VR, which is currently screening in London and Sydney. Alchemy is about to produce several new experiences including pyramids VR and human body VR, and continuing to create revolutionary narrative and immersive storytelling experiences.
With the creative industries making the headlines around the poor statistics of women working in the fields of directing, producing, cinematography and writing, we want to celebrate the achievements of some of the most successful females working in the creative sector.
Julia has worked in production for almost 20 years on a range of critically acclaimed television dramas and feature films.
Julia most recently produced Andrew Davies new adaptation of Tolstoy’s WAR AND PEACE for BBC1 and The Weinstein Company starring Paul Dano, Lily James, James Norton and Jim Broadbent, filmed on location in Russia, Lithuania and Latvia.
Before that Julia produced two Bafta nominated films A ROBBER’S TALE and A COPPER’S TALE about The Great Train Robbery for BBC1 starring Luke Evans and Jim Broadbent. She also produced UNITED, the story of the Munich Air Crash that killed eight of the Manchester team in 1958, starring David Tennant, Jack O’Connell and Dougray Scott. She then produced Tony Marchant’s PUBLIC ENEMIES for BBC1, about the probations service and the offenders they are employed to rehabilitate, starring Danny Mays and Anna Friel.
Julia also produced British feature THE AWAKENING for BBC Films and Optimum, written and directed by Nick Murphy and starring Rebecca Hall, Dominic West and Imelda Staunton. It premiered in Toronto and London Film Festivals in 2011.
Other feature films include THE HISTORY BOYS and BOOGIE WOOGIE.
Earlier work for major TV networks include CRIME AND PUNISHMENT, PASSER BY and BYRON for BBC, the BAFTA winning THE GOVERNMENT INSPECTOR, NEVER NEVER and WHITE TEETH for Channel 4 and A LIFE FOR A LIFE and SHARPE’S CHALLENGE for ITV.
Virginia Gilbert is an award-winning, BAFTA-nominated writer and director of film, TV and radio. Her screen-writing work has been placed on the BritList and she was named as a 'Star of Tomorrow' by Screen International. Her debut short, 'Hesitation', won prizes internationally, including the Golden Hugo for Best Short Film at the Chicago Film Festival and was nominated for a BAFTA. Her debut feature film as writer-director 'A Long Way From Home' was nominated for the Michael Powell award for Best British Feature and was released theatrically by Soda Pictures. In film, she is currently preparing her second feature, 'Sweetheart', which was developed with the support of the BFI, and is adapting her debut novel, 'Travelling Companion' for screen, supported by the Irish Film Board. Television credits include two documentary series for Irish Broadcaster TG4 and a comedy-doc for RTE. Radio credits include a season of her short fiction under the banner 'Abroad' and three original dramas for BBC Radio 4. She is represented by Mark Casarotto of Casarotto Ramsay.
Oona King is Diversity Executive at Channel 4, and a member of the House of Lords (appointed Baroness King of Bow in Jan 2011) and was previously Senior Policy Advisor to the Prime Minister on Equalities and Diversity at 10 Downing Street (2007-09). Oona was the second black woman elected to Parliament as MP for Bethnal Green & Bow from 1997-2005; she became PPS to the Minister for e-Commerce, and then PPS to the Secretary of State for Trade & Industry.
Her parliamentary roles in the Lords have included Shadow Broadcasting Minister, Shadow Education Minister, and Shadow Equalities Minister. Oona founded the All-Party Parliamentary Group on Genocide Prevention in the House of Commons, and received a commendation from the UN Security Council’s Expert Panel for her group’s work on peace-keeping. Oona has worked as a television presenter for Channel 4, BBC, Sky, Five and ITV.
Oona’s political diary from her time as an MP “House Music” was published by Bloomsbury in 2007, and launched as an e-book in 2013. Oona lives with her husband and four young children (three of whom are adopted) in Tower Hamlets. In her spare time she listens to history podcasts in the middle of the night, and loves ice skating.
The success of the UK’s Film Tax Relief in attracting production to, and supporting film-making in, the UK has been well-documented, with the more recently launched High-end Television Tax Relief already making a significant impact too. This panel looks at how recent enhancements to the UK’s Creative Sector Tax Relief's have benefited film and television production throughout the UK.
A discussion on the challenges of today’s extraordinary production demands, including those of 4K. With efficient and reliable workflows critical to any company’s success, this session will focus on the changing media space and what it means for those in the industry. With key concerns around production and distribution expansion, security, reliability, adaptability and virtualization, this session discusses what companies need from storage and what’s on offer.
Kevin is a Director in Avid’s Global Strategic Solutions team, responsible for Storage and Archive solutions. He started at Avid in 1994, supporting the development of the Avid UK broadcast market and subsequently held senior positions in EMEA Pre-Sales, Solutions Development and Global Product Marketing focusing on shared storage, servers and asset management. Kevin is also on the board of Directors for the IABM. He is now focusing on developing the global market for Avid NEXIS software-defined storage solution. Kevin is a keen mountain biker and immediately after the Production Show he is heading to the Derbyshire Peak District for a weekend of off-road biking.
Darren has worked in the film and television industry for over twenty-five years. Having graduated from Ravensbourne College, he started his career at Complete Video in Covent Garden, before joining Molinare as a Maintenance Engineer. He left seventeen years later as their Technical Director. Darren was involved in the management buyout of Molinare in 2003, where together with his fellow directors, he turned a struggling post-production company into a highly successful TV & Film Facilities Village. In 2007 joined the Pinewood Group as their Group Director of Technology. Here, Darren looks after all aspects of technology across the three UK sites – Pinewood, Shepperton and Wales – and also further afield at the Group’s interests outside of the UK. Feature films and television are produced and post-produced from all of these locations.
David is currently Global Director of Engineering & Technology for IMG Media. He has overseen the continued expansion of IMG’s studio and post production facilities, culminating in their move to IMG Studios in 2013. IMG Studios is London’s largest facility owned by an independent production company. David has greatly expanded the distribution business of IMG Media, which includes Premier League Football, Rugby World Cup and Wimbledon amongst many other properties. David was part of the team to stage the Commonwealth Games in Melbourne in 2006 and was Head of Production Facilities for the Asian Games in Doha in 2006 and technical producer for CH4’s coverage of the Paralympic Games in 2012. David will also be project director for the RWC 2019 finals in Japan.
Cinematic Director and VFX Supervisor Hugo Guerra showcases how his team worked remotely around the world harnessing the power of the cloud, motion control and NUKE STUDIO to create the latest Games Cinematic for the Triple A game Homefront The Revolution.
Joining Hugo, is Tomas Wall from Stiller Studios, on how green screen shoots with motion control are optimised for the VFX Artist.
Hugo is an award winning Director and VFX Supervisor working in the industry since 1999. After working in Portugal, Sweden and London, in 2010, he joined The Mill as a VFX Supervisor and Head of the Nuke Compositing Department where he worked in +100 productions managing a team of +25 artists. These days Hugo splits his time between lecturing, teaching in events all over the world and working with Fire Without Smoke, a London based agency specialised in Video Games marketing. In the past year he worked as a Cinematic Director in trailers for Ubisoft's The Division, Square Enix’s Just Cause 3, Sony’s Until Dawn and Deep Silver’s Homefront The Revolution”
"VFX Director Tomas Wall has over the years worked at a multitude of companies in Europe and the US.
Born and raised in Sweden he started off doing local commercials work as a VFX Artist. After moving over to London to work on feature films like Marmaduke, Narnia: The Voyage of the Dawn Treader, John Carter and Carol, he joined The Mill to focus on international commercials work which later led him to The Mill New York here he worked as Lead Compositor and on set VFX Supervisor on some of the biggest TV Commercials in the world.
Today, using his past experience, Tomas is responsible for all visual effects shoots happening at Stiller Studios, optimising them for VFX together with directors, producers, clients and post companies."
Television advertising that engages and has an emotional impact on the audience is fast becoming the norm from creative agencies and production teams. The recent Center Parcs advertising campaign with the emotive story of the 'Bear Family' delivers just that.
The team behind this successful campaign will talk through their creative processes, production and VFX techniques which delivered such a stunning advert.
Ben won ‘Best New Director’ at the first ever Shots Awards in 2012. His film for ChildLine ‘It Follows Me Around” then went on to pick up ‘Best Short Film’ at the CFP-E Shots Young Director Awards, a Cannes Lion, Best New Director at the Kinsale Sharks and inclusion in the Saatchi & Saatchi New Directors Showcase.
Known for his emotive brand of storytelling Ben has gone on to direct work for KFC’s 50th Anniversary campaign ‘Families’, Cancer Research UK and Center Parcs.
Andy founded Brothers and Sisters in 2007 from a tiny office in West London. By the end of that year adidas, The Sun, Nokia and BSkyB were all clients. In 2010 Streetmuseum for the Museum of London was the most awarded digital project in the world. And in 2012 their Street Tag app for Channel 4 earned them the only Mobile Lions at Cannes for a UK agency.
Current clients include Carphone Warehouse, Center Parcs, Pearl & Dean, Spotify and BSkyB. The agency’s 2015 Sky Sports ‘Time Traveller’ ad with Thierry Henry was the most successful launch of an ad ever on Facebook with 17 million views.
Andy proudly oversees the second biggest independent creative agency in London.
After graduating from Bournemouth University where he studied computer animation, Dean got his first job at Framestore. He moved from film to the commercial department, which is where he learnt the art of CG. He worked on some of their biggest commercials including Guinness ‘Evolution’, Johnny Walker ‘Tree’, Rexona ‘Fanimals’. Dean then moved to MPC London where he lead jobs for the first time such as Evian ‘Babies’. He left for New York to help set up the commercial department.
When he returned to England he joined ETC as a freelancer. June 2014 Dean was offered a position as VFX supervisor where he leads character driven jobs. Since joining he has lead ETC biggest project to date alongside James Sindle; a fully CG spot directed in house. He also worked on Three Rugby ‘All it takes is everything’ and King Christmas.
With smartphone sales globally reaching 2bn in 2016, news media companies are using new, integrated smartphone contribution systems to gather user-generated content from their mobile audience and user-community, as well as their staff. Innovative professional production workflows now allow news brands to source, manage and publish mobile video of breaking and regional news events in a manner that is consistent with their journalistic values and that contributes to their value-chain, in a way that use of social media platforms alone will not.
Markus has 24 years' experience in the news media business, including 18 years in senior management and executive leadership roles at The Associated Press and in Video-Streaming companies, following an early career as a broadcast journalist. Founded in 2013, his consultancy firm, KCM, works with broadcasters, video news agencies and leading-edge technology innovators to build success in the operation, distribution and monetisation of professional and UGC news video. Since 2014, Markus has been Commercial Director for “Iris”, Bambuser AB's professional end-to-end solution for integrated or standalone mobile applications allowing media companies to publish or broadcast live-streaming or on-demand video content from smartphones.
Today’s VFX and post production companies need to implement new types of agile and scalable workflows in order to handle ever increasing volumes of media sourced and delivered globally, as well as enabling designers, artists and producers located across remote sites to spread their workload and share projects quickly, reliably and securely.
In this session, leading full service post-production house Smoke & Mirrors will share their experience implementing such workflows with high-speed data transfer technology from Aspera.
Hamish is one of the UK's most respected producers and directors for live event and his back catalogue is nothing short of spectacular! In this session he will share some of his experiences from the Super Bowl to Beyonce and give an insight into being a world class multi-camera director.
Hamish Hamilton has produced and directed some of the biggest live shows on the planet, having most recently brought to life the Super Bowl 50 Halftime Show starring Coldplay and featuring Bruno Mars and Beyoncé, as well as the U2 iNNOCENCE + eXPERIENCE Concert Special, shot live in Paris for HBO.
This kind of break-neck schedule is nothing new for Hamish. He kicked off 2015 by directing last year’s Super Bowl XLIX Half Time Show that featured Katy Perry and Missy Elliot and smashed all-time ratings records, garnering 120 million viewers to become the most watched program in US television history. Next he directed the 87th Academy Awards, featuring Glory and Lady Gaga’s take on The Sound of Music, followed by the iHeart Radio Music Awards, which united Taylor Swift and Madonna on stage in the most talked-about duet of the year, and then Red Nose Day, an annual UK fundraising effort that raised 21 million dollars for children in need across the world. He ended his jam-packed 2015 in St Barth’s, where he directed and executive produced the 2016 Victoria’s Secret Swim Special, giving viewers a rare glimpse into the ever-expanding world of VS Swim.
Hamish directed the 2nd Annual Kids Choice Sports Awards hosted by Seattle Seahawks quarterback Russell Wilson, which named Derek Jeter as this year’s Legend Award recipient, as well as the 2015 Video Music Awards, hosted by Miley Cyrus, which saw moments such as Justin Bieber’s on-stage breakdown and Kanye West’s legendary Video Vanguard acceptance speech.
2014 had its own share of memorable highlights: The Victoria's Secret Fashion Show was brought to London for the first time, Hamish was slimed during rehearsals for the inaugural Kids Choice Sports Awards ceremony, The explosive Super Bowl XLVIII halftime show featuring Bruno Mars and The Red Hot Chili Peppers, the 2014 MTV Video Music Awards, the first-ever iHeart Radio Music Awards, and the 86th Annual Academy Awards hosted by Ellen DeGeneres featuring THAT selfie.
Additional credits include Directing and Executive Producing the London 2012 Olympics Opening Ceremony, Beyonce’s Blackout-worthy Super Bowl half-time show in 2013, and the “Peter Gabriel: Back to Front” Tour in 2013-14.
One of Hamish's most diverse and richly innovative projects in recent years has been creating and directing David Bowie Is, an event/film for The Victoria & Albert Museum that has seen a second premiere in theatres across the world and received great reviews. Upcoming later this year is the U2 iNNOCENCE + eXPERIENCE HBO concert special coming out of Paris, which Hamish will take on in November along with the next iteration of Victoria’s Secret’s iconic Fashion Show.
Hamish has 2 BAFTA Awards to his name, a Peabody Award for recognizing excellence in public service in journalism for CNN Heroes, Multiple Moonmen, and both Grammy and Emmy nominations. His name is featured on 30 million DVD boxes around the world, and there is not a contemporary performer to date that he hasn't had the honour and pleasure of working with.
Hamish began his directing career in Scotland, working for the BBC, and he has since travelled far and wide shooting documentaries, concert films, and awards shows on every continent.
A panel of leading colourists will debate the exciting possibilities opened up by the new standards for UHD. Is it any different from grading in HD? What are the challenges of working with higher resolution pictures? But it’s not just about the number of pixels any more as UHD also enables a wider palate of colours and significant brighter pictures with contrast levels equalling that experienced by the naked-eye, so what will you be able to do with this creative freedom? How can you enhance the viewers’ visual experience without distracting from the storytelling and will the grading process take longer?
You can't step inside a trade show these days without falling over countless companies showing off their new UHD content and tools.
But what does UHD really mean for you the Producer? What is different about working in UHD? What does a producer need to know; what kit do you need; and what will it cost? And where can you find out the answers to all of your questions?
The Digital Production Partnership (DPP), whose Members predicted that UHD will become mainstream by the end of 2017, have put together a panel of experts from across the industry who will answer all of these questions and many more at this exclusive insight session.
A fundamental technical change for the broadcasting industry is just around the corner. Internet Protocol (IP) promises to increase flexibility as well as reduce continuing capital spend on equipment and deliver more content to more outlets than ever before.
This session, sponsored by NewTek, will explore those technical advancements and discuss with a panel who are already in the exploration and planning phase to adopt IP.
DaVinci Resolve 12.5 combines professional non-linear editing with the world’s most advanced color corrector so now you can edit, color correct, finish and deliver all from one system! With more than 1,000 enhancements and 250 new features in DaVinci Resolve 12.5, Simon Hall introduces Resolve’s new editing and trimming tools, incredible new media management and organization functions, new retiming effects, enhanced keyframe controls, on-screen text editing, new ResolveFX plug-ins and much more! With virtually every imaginable editing and trimming tool available, it’s easier than ever for editors to switch to DaVinci Resolve!
To make cutting edge documentaries and tell stories that have not been told requires a certain strength of character. From war, famine and abuse we hear from the documentary film-makers really delivering the stories on hard-hitting subject matters.
Credits: After the Dance, Britain's Holocaust Survivors
Liz Tucker is an award winning film maker, whose programmes have been broadcast in over 90 countries. She has made films for the BBC, Channel 4, Channel 5, and a number of international broadcasters including WGBH NOVA, Discovery and TLC.
Her most recent documentary Filming My Father: In Life and Death shot over four years followed a family in crisis minute-by-minute as they struggled to cope with the father’s motor neurone disease. The programme created a major impact in the media, selling around the world, and to date has received six awards and nominations. And it has just been selected as a finalist for a Golden Nymph Award at the Monte Carlo TV Festival.
Liz runs her own production company, Verve Productions, is a member of BAFTA and sits on the board of WFTV.
Looking at some of the best TV visual effects of the past 12 months this expert panel will talk through techniques and processes to create the stunning VFX in drama.
A resurgence in the use of 'film' with 46 films shot in the last three years and released in 2015 which have, in the most part, been shot using 35mm. High profile projects such as 'Hateful Eight', ‘Star Wars: Force Awakens’ and ‘SPECTRE’.
So what is driving film-makers back to using film, did anyone really ever stop? What does using film look like on your budget, and what is the difference in look and feel of your finished shoot.
This exclusive interview will explore the creative process of Tony's writing career, his diversity of topics and his venture into Red Planet Pictures and how he balances running a business and continuing to write complex hit series like 'Dickensian'.
Jordan started his writing career at the age of 32 when he submitted his first unsolicited script to the BBC.
He has since become one of the UK’s most acclaimed, successful and respected drama writers and show runners.
After writing almost 200 episodes for the UK’s premier soap EastEnders, Tony went on to create some of the most popular dramas of recent years including Life on Mars with Kudos Film & TV, Hustle, The Nativity, The Ark, Holby Blue, The Passing Bells and most recently the ambitious Dickensian. The recent BBC One drama successfully brings to life Charles Dickens’ most iconic characters as their lives intertwine in 19th century London. Dickensian has been critically acclaimed and described as 'ingeniously conceived, handsomely crafted' Telegraph and “Irreverent, addictive and often wickedly funny, it’s like climbing into Dickens’’ Sunday Times.
After setting-up his own production company, Red Planet Pictures in 2005, the indie has become synonymous with producing groundbreaking and ratings-winning dramas including the BBC’s highest rating midweek drama Death in Paradise. Currently in production on its fifth series, Death in Paradise has become a huge global success selling to over 260 territories and pulling in audiences of over 8 million each week for BBC One in the UK.
Also in production is the epic, adventure series, Hooten & the Lady which has been commissioned by Sky One. The show is featuring Ophelia Lovibond and Michael Landes. Landes will play Hooten, an adventurer, who teams up with Lady Alexandra Lindo-Parker (Lovibond) from the British Museum to go in search of lost treasures, from the tomb of Alexander the Great to the Buddha’s missing scroll. This ambitious show is due to air later in 2016.
The BBC recently greenlit it’s first ever musical drama from Red Planet Pictures. Stop! In the Name of Love, created by Tony Jordan, is a ground breaking, original four-part drama centered around six smart, diverse thirty-something women in contemporary England. The series will reflect the diversity of today’s UK, focusing on the women’s complicated lives as they deal with love, friendship, success and failure and will feature the music of Berry Gordy Jr’s famous record label. The series is due to go into production in 2016, with award winning producer, Duncan Kenworthy. Kenworthy is well known for ‘Four Weddings and a Funeral’, ‘Love Actually’ and most recently ‘The Pass’.
Red Planet Pictures also have an exciting array of new projects in development with all the major UK broadcasters. Red Planet Pictures has also diversified its creative output this year by announcing its move into non-scripted programming. The company’s new division, headed up by former Channel 5 commissioner Simon Raikes, will develop a diverse range of non-scripted programming, including factual and factual entertainment formats for the UK and international broadcasters.
Diamond has been created to provide detailed, consistent and comprehensive monitoring and reporting of diversity in a way that has never been achieved before. But how does it work? Who is it targeted at? How does it affect you? Who is responsible for Diamond in an organisation or as an individual? What happens to the data? These, and many more questions, will be covered in this session.
Currently delivering training on CDN Diamond via the Indie Training Fund
Due to technology advances over the last 5 years, 3D Projection on complex buildings, cars, theatrical stages and more has exploded. Being part of a Media Server manufacturer, we get asked daily “How do I 3D Projection Map this building? this dress? this product?”. This talk is aimed at taking you through the process of 3D Projection Mapping, from conception to show.
Next year, the government will impose a levy on UK businesses to fund the training of 3 million apprentices. Smaller firms won’t need to pay but can still benefit from the subsidy. However for companies with a payroll over £3m, the costs may be considerable. For the creative sector there are challenges to access these funds and actually deliver the accredited training. In this session we will debate the impact on the current voluntary levies on production. Is the Apprenticeship Levy is fit for purpose for post-production and VFX and what changes to the proposed legislation do we need to make it truly deliver?
Keith Smith has worked in the Skills system for more than 20 years. He has worked closely with unemployed people running local Job Clubs and implementing local employment projects. In recent years he has been leading the development and delivery of the national Further Education and Apprenticeship funding systems. Keith has been a Governor of a number schools and University Technology Colleges. He is currently the Programme Director with responsibility for implementing Apprenticeship funding reforms and the Apprenticeship Levy.
A panel of award winning DOP's will discuss the aspects of achieving artistic excellence and creating images from their vision to screen. We will also discuss the technical decisions they make related to capturing the image.
Robert Shacklady has always had a fascination and passion for film making……
He left school and started in the film industry straight away. After a short career in ‘Sound’ he swapped over to the camera department as a camera trainee. And from there he progressed to through the ranks learning his craft as Loader, Focus Puller, Operator now DOP. During these years he worked on a diverse array of productions from big budget Hollywood studio movies to small independent projects – he’s able to bring this experience, great technical knowledge and creativity to every project.
BAFTA Craft Award nominee, 2016, Photography - Factual for C4's The Children Who Beat Ebola
BAFTA Craft Award nominee, 2016, Photography - Factual for BBC4's Handmade: Metal
A panel of Production Designers who have worked across many genres will talk about the importance on the 'look and feel' to any production and the role they play in pre-production planning and then on-set when bringing the script to life.
Morgan recently wrapped on Sean Ellis’ feature ANTHROPOID, which stars Jamie Dornan and Cillian Murphy – the film explores the assassination attempt on notorious SS officer Reinhard Heydrich and is Sean Ellis’ follow up to the critically acclaimed METRO MANILA. Morgan worked with Oscar Winning director Danny Boyle on the Channel 4 TV pilot of BABYLON, and also designed the TV series that followed with directors Jon S Baird and Sally El Hosaini. Morgan designed Nick Love’s feature film of THE SWEENEY, produced through Vertigo Films, which was released to great commercial success in 2012 and stars Ray Winstone and Ben Drew. He also designed Sean Ellis’ Oscar nominated short film CASHBACK and the feature film that followed, as well as Ellis’ second feature, THE BROKEN, which premiered at Sundance 2008 and stars Lena Headey. Other credits include the feature, FAINTHEART, directed by Vito Rocco through Vertigo Films and Sean Ellis’ BAFTA nominated short film, VOYAGE D’AFFAIRES.
The role of the Colourist has never been more important. The look of a film, TV series or commercial is now very much the Colourist's responsibility to deliver. Our expert panel will discuss the techniques and craft of some of their recent projects and share some insider knowledge.
A highly experienced colourist, Tony works across a number of genres: from drama and biopic, through fashion and food, to natural history and historical documentaries, as well as animation and commercials.
He started his career in the BBC in London where he spent ten years gaining experience in editing and telecine operation. He left to pursue a freelance career in Soho and Bristol.
After joining Films at 59, he was involved in some of the UK’s first HD productions for broadcasters such as the BBC, HBO and NHK. He is now fully involved in 2K/4K TV and Theatrical release colour work.
Tony was the colourist of choice for the flagship BBC series HIDDEN KINGDOMS in 2013 and WONDERS OF THE MONSOON in 2014 which have been highly acclaimed for their visuals.
Tony believes that by meeting Producers, Directors & DoPs early in a production, the style, look and feel can evolve and contribute to the emotion and meaning of a finished film. Tony was awarded a 2016 RTS award for Best Grade for Oxford Scientific Films’
Secret Life of Twins.
Andrew Daniel is a Staff Senior Colourist at Molinare. A creative colourist working for almost a decade on a diverse mixture of Features, Dramas, Feature Docs and factual. Recent broadcast work includes Netfix and ITV series "Marcella" for Buccaneer Media and "Thirteen" and "Stag" for BBC.
Andrew prides himself on treating each project as a way of creating something new and unique that reflects the tone of the series or film.
Thomas is the MD and Senior Colourist at The Look. His company's credits include over a dozen major drama series including 'Jericho', 'Top Boy', 'The Fades, 'The Aliens', 'Quirke' and 'Dead Set'. He has worked on over 25 feature films, and in the commercials world he works closely with production companies and agencies across the UK to give commercials the impact they need wherever they are screened.
Julian Phillips predicts the future of programme-related digital content for independent producers with insights from commissioners and budget holders.
He will share what works on social media and why what’s good for TV, isn't good for on a mobile phone. Attend or die, figuratively.
How do international co-productions in drama affect UK shoots? And what is it like to direct a show, such as Downton Abbey and Humans, that are made for two different broadcasters in different countries? In this session, we talk to the directors who have worked on these type of shows, to find out their methods of directing for different audiences and what kind of practices might be found on these shoots that wouldn’t normally feature on a more traditional UK set. These co-productions allow TV drama to be made with very large budgets, but what impact does this have on the creative freedom that a director can wield?
On graduating with a 1st Class Honours degree in Video Production from the University of Gloucestershire, Lewis was
awarded two consecutive digital short commissions through the UKFC and Screen WM. His film STAINED was selected
for numerous film festivals and was picked up for online distribution by the BBC Film Network, leading to nominations
at the Midland Royal Television Society Awards for Best New Talent, Best Short Film and Best Director.
From 2009 Lewis worked continuously as a 1st Assistant Director alongside numerous directors. He worked on over 80
promos and commercials for artists such as Tiesto, The Vaccines, Two Door Cinema Club and Friendly Fires. In this time
he also directed music videos for Scouting For Girls and The Futureheads and in 2013 he won Best Director at the
NAHEMI Kodak Student Commercial Competition for his Kodak Commercial for Kopparberg.
In 2010, Lewis was awarded a place on the MA in Directing Fiction at the National Film and Television School. Made
during his time at the NFTS, Lewis’ short film ECHO screened at a host of international film festivals, picking up awards
including a National Film Award for Best Short. His graduation film CHARLIE SAYS had its international premiere at
Edinburgh International Film Festival, 2013.
On graduating from the NFTS in March 2013, Lewis embarked on his first TV project, directing two episodes of the final
series of BAFTA-winning C4 show, MISFITS. He followed this up by directing the first four episodes of Russell T Davies’s
new E4 show, BANANA, and was named a Broadcast Magazine Hot shot 2014 for his work on both shows. Earlier this
year, Lewis directed two episodes of C4/AMC show HUMANS, which has become Channel 4's most succesful original
drama in over 20 years. He is currently working on the second series of the acclaimed drama PREY for ITV.
Aside from his commercial and drama work, Lewis also shoots aid videos, which has taken him as far afield as Somalia,
Kenya and Haiti.
Saul is an award-winning director of feature films, documentaries, shorts and adverts.
He recently directed the 2nd Unit on Tomas Alfredson's The Snowman, a $55 million feature film for Working Title Films and Universal Studios. Immediately prior to that Saul directed five episodes of You, Me and the Apocalypse for Working Title/ Sky/ NBCUniversal.
Among his other TV credits is Micro Men (BBC4), a feature-length comedy drama about the early British computer industry, and episodes of Ripper Street (Tiger Aspect/ Amazon), Our Zoo (Big Talk/ BBC1), Musketeers (BBC1), Upstairs Downstairs (BBC1) and five episodes, including the Xmas Special, of Doctor Who (BBC1).
Saul has directed two award-winning feature films, Late Night Shopping (Film4) and Guy X (F&ME), and was also the 2nd Unit director on the feature films Black Sea, Suffragette and Dredd.
DEARBHLA WALSH is an EMMY, IFTA and BAFTA award winning director.
Her work includes LITTLE DORRIT (for which she won her Best Director Emmy), and THE SILENCE for the BBC; SHAMELESS for Channel 4, PENNY DREADFUL and THE TUDORS for SHOWTIME and BORGIA for CANAL PLUS/NETFLIX.
She directed Dustin Hoffman, and Dame Judi Dench in ROALD DAHL’S ESIO TROT for BBC1 and TWC, and is currently directing THE COLLECTION for France TV, Amazon and BBCworldwide; and is developing Donal Ryan’s YOUR SPINNING HEART for TV and attached to feature film NAPOLEON & BETSEY. Dearbhla directed the CHERRY WINE promo for Hozier starring Saoirse Ronan.
Join this session for a discussion around the different approaches to audio mixing that industry professionals have experienced throughout their careers. Hear first-hand the importance of using the right tools and how Avid and the Avid Pro Tools family has helped modernise workflows. There will also be discussions on the current trends in the industry and the ways in which companies are addressing these changing technical requirements.
Simon Ray is Head of Operations and Engineering at Goldcrest Post Production – a leading supplier of Academy and BAFTA award-winning picture and sound post production services for film and broadcast projects, based in central London and New York.
Dr Jon Starck, head of research at The Foundry takes to the stage with leading VR Director, Daffy. Through a combination of Q&A and showcase the session will walk through some of the challenges and current solutions around creating great VR projects. Daffy will discuss the dangers of defining rules prematurely for this new area and they will go behinds the scenes of creating pre-rendered imagery for VR.
‘Daffy’ began work in the VFX industry at Framestore (Gravity, The Harry Potter Series, Guardians of the Galaxy) as a Junior Animator in 1996. Things took off for him soon after he gave the fly from the BBC2 ident ‘flyzapper’ an unbriefed drunken motion and smoke trailing from him. Martin Lambie-Nairn said it would become an instant classic. It became the longest running of all the spots.
A few small years later and he became Head of 3D Commercials. His incredible team made successful commercials year on year, the James Bond title sequences – ‘Die Another Day’ and ‘Tomorrow Never Dies’ and his previsualisation techniques developed for Chrysler ‘Golden Gate’ were put to full effect on the Levi’s ‘Odyssey’ commercial directed by Jonathan Glazer.
Daffy helped win BBC’s ‘Walking With Dinosaurs’ series, assisting Mike Milne with the pitch film to convince the BBC that dinosaurs could transcend the silver screen
His projects have accumulated over 30 awards and helped put Framestore firmly on the map. After leaving Framestore, he founded The House of Curves in December 2004.
Since then he’s directed a catwalk show for Louis Vuitton, titles for The Inbetweeners Movie, built the VFX for the amazing Soulwax Machine, helped Mike & Claire Manumission create their new club Phantasmagoria, and he is developing an IMAX underwater feature HIDDEN.
A fascinating insight looking at the extensive live output that the National Theatre Live project broadcast around the world to multiple venues.
Emma Keith has worked as part of National Theatre Live, the ground-breaking initiative to broadcast plays live from the National’s stages to cinemas worldwide for 6 years. Producing the programme for more than 3 years, it now reaches over 2,000 cinemas in more than 50 countries and since its launch has reached a global audience of more than 4.5 million people.
Her role also encompasses the recently launched On Demand: In Schools platform which provides free access to select National Theatre Live broadcasts for schools across the UK, reaching more than 1,500 schools in the 4 months since its launch. She also oversees the digital learning content for the National Theatre, as well as a team of in-house Film-makers and Editors.
She trained in Dance and then worked at Arts Council England and the UK Film Council before returning to education and completing a Masters Degree in Digital Culture and Technology at Kings College London.
We have brought together a panel of UK Indies that have shown themselves to be at the forefront of films that are new and fresh and most important of all showcasing new and diverse talent.
During this panel discussion we will discuss how the 'business' has changed over the last 10 years, take a look at funding and how projects get off the ground and also how distribution deals are made into the cinema networks.
What does the UK need to do to stay strong in the film-making business, and how important is it to nurture new and young talent?
Jason Maza joined Unstoppable Entertainment in 2012 as Co-CEO. After working with UE founder Noel Clarke on Universal Pictures brit-comedy “The Knot,” it was evident that the pair both shared a passion for discovering new talent and most of all, a love of cinema. It was shortly after the finishing of post-production on “The Knot,” the pair merged companies; Think Big and UE.
Jason has produced 12 films in the last four years. Titles include: Altitude Entertainment’s “The Hooligan Factory, ” “Terry,” for Lionsgate and Raindance nominated “Victim.” Along with Noel, Jason was also a producer on "Scottish Mussel" and "Brotherhood", the latter in which he stars in.
Gina Powell is an Irish/Australian Producer who joined the Unstoppable team in 2014. Based in London since 2013, Gina previously worked with the promo producers team as an On-Air Junior Producer for Central Eastern Europe and Emerging Markets at Walt Disney’s London office.
While at Disney in her spare time she also produced short form content; commercials, music videos and short films, funded by various companies such as the Wellcome Trust, Cinema and Television Benevolent Fund, Universal Music and Brunel University. At Unstoppable Gina worked as an assistant producer on films such as Universal's "Legacy,” Metrodome’s “We Are Monster” and Talulah Riley’s directing debut “Scottish Mussel.” “ Brotherhood,” Gina’s debut feature, is the third and final part to Noel Clarke’s Kidulthood/Adulthood, to be released by Lionsgate UK in August 2016. Following Unstoppable’s ethos, she is continuing to develop her own projects under UE, specifically working with up and coming writers, directors and female talent.
We talk to some of the best editors in the business who are creating dynamic television through the craft of editing.
Ben studied English at St Peter's College, Oxford, before becoming in-house film editor at documentary production company Darlow Smithson. During his time there Ben edited the award-winning documentaries 'The Beckoning Silence', and 'Deep Water'. He then moved into editing drama with 'The Secret Diaries of Miss Anne Lister' for BBC 2 staring Maxine Peake, and then some of ITV's most successful recent dramas such as 'The Widower' and 'Mrs Biggs' which won a BAFTA for Sheridan Smith's lead role. Most recently Ben edited all six episodes of 'The Night Manager', an adaptation of the novel by John Le Carré for BBC and AMC. Other credits include 'Utopia', 'Broadchurch' and 'Black Work'.
With 25 years experience in post production, Paul has enjoyed a wide and varied career starting his editing life on large scale commercial projects then moving on to broadcast starting at Granada Television in the late 90’s
He then enjoyed a stint at a manchester based facilities house before embarking on a freelance career. Paul has provided his services to all major broadcasters including the BBC, ITV, Channel 4, SKY and to many independent production companies working in most genres including factual, children’s, religion, entertainment and sport. Paul is proud of all the projects he has worked on, being part of the World Cup editing team in Brazil is one of his best experiences.
Possessing a strong technical background Paul has built and maintained ingest and editing systems for many broadcast and commercial projects both on and off-site.
With a keen interest in passing on his knowledge to the next generation he has enjoyed sharing his experiences as a visiting lecturer at Salford University, he is also an Apple certified trainer.”
Alex has been an editor most of his working life having started in Soho aged 22.
He has been freelance most of his career with long stints in Tokyo and Berlin.
In 2002, wanting to get back to the grassroots of storytelling, he tried out Final Cut Pro and never looked back.
Since that time, Alex has supervised the uptake of FCP at the BBC in 2005, worked with Julien Temple twice on major concerts including the Sex Pistols 30th Anniversary, for which he set up an online edit suite at his house for six months, supported the entire FCP set-up at the FIFA World Cup in Johannesburg 2010 and set-up the workflow for the now Final Cut Pro X driven Tour De France in 2014 (in the UK).
He is currently editing his own documentary feature about the area of Shoreditch in East London.
This panel of production sound mixer's will discuss their crucial role for all sound recording on set during film-making or a television production. This requires choice and deployment of microphones, choice of recording media, and mixing of audio signals in real time. A list of enviable credits from this panel will give you an amazing insight in capturing sound on location.
Credits: War & Peace (TV)
I started my career as a runner for Fox Television in London during the 1980’s. I left there in 1990 and have been a freelance production sound mixer for 26 years. I have worked on numerous documentaries covering a wide variety of subjects all over the world before moving into drama some 15 years ago. My TV drama and film credits include Endeavour, Fantabulosa, Rev, The Bletchley Circle, Chatroom, Foyles War, Vexed and Downton Abbey (emmy nomination for best sound).
Looking at some of the best visual effects work of the last 12 months this expert panel will talk through techniques and processes that have been used to create visually stunning and award winning VFX in film.
Priyanka is an Executive producer at CherryCherry VFX. She is also a treasurer at the London Visual Effects Society. She has several years of experience working in the film VFX industry and has worked with some of soho's best medium size and boutique vfx houses such as prime focus, baseblack and bluebolt on notable films such as Kingsman, Total recall, Great gatsby and 47 Ronin. Her current role at CC is a unique blend of producing and pitching for new projects within the film and tv space. She also develops outsourcing business for an Indian VFX studio called BOT. Through her experience in producing visual effects for feature films and business developement she has acquired a network of contacts within the industry worldwide. Prior to working in London, she was producing visual effects for hollywood and Bollywood clients in Mumbai. In her recent role at CC, she works with the company's London and Istanbul office on various films - both Turkish and UK productions. She is also a VR enthusiast!
There are a number of ways producers can distribute UHD content to the viewer, depending on both the type of content and who you're commissioned by.
Of course there are also some challenges to overcome along the way - file sizes, transfer time and connectivity amongst others.
Tim Davis, DPP UHD Lead and Senior Enterprise Architect for ITV will discuss how the DPP's Technical Standards for the Delivery of UHD Programmes were designed to help minimise these challenges and help set the direction for UHD adoption in the UK and beyond.
Mark Horton has worked in Television and Film Production and Post-production since 1984, originally working as an Engineer, Vision Mixer and Editor. In 1990 he moved into Product Management at Sony Broadcast and subsequently Quantel, Amberfin and now Ericsson. His products have spanned Linear and Non Linear editing, Film Scanning, Film and Video Compositing, Color Correction, Standards Conversion, Automated Quality Control, Transcoding and Encoding. These products have won more than 25 major industry awards, including the British Government Queens Award for Export Achievement, the IABM Peter Wayne Award and the 2014 NAB Technology Innovation Award for work on UHDTV.
Mark Wilson-Dunn, Vice President – BT Media and Broadcast
Mark joined BT Media & Broadcast in mid-2006, keen to build on his experience of delivering the best possible client solutions with an organization at the forefront of a rapidly changing sector.
At BT Media & Broadcast, Mark runs a Global team of sales, technical, product and marketing professionals, who are responsible for creating and taking BT’s media solutions portfolio to clients.
He is focused on ensuring that team is able to identify client needs through detailed analysis of their business and to advise specific courses of action to improve their commercial performance. Mark also personally leads some major strategic client opportunities.
This is Mark’s second spell at BT. He initially joined the company after leaving education and over the next 21 years worked in a wide range of sales and customer-focused roles, developing an instinctive talent for getting to the heart of a customer’s business, its challenges and its drivers.
Between 2000 and 2003, Mark was a founding board member at leading learning solutions company, Acadamee. Here, Mark designed and delivered learning and development programmes for some of the world’s biggest corporate brands.
He has broad international experience with extended periods working in the USA, Asia and Africa.
Mark is married with four daughters and is a big believer in work-life balance. He spends as much of his spare time as possible surfing in places as diverse as Devon in the UK to Bali in Indonesia, and if he were not delivering ideas for continual business improvement to clients, Mark would be running a surf shop with a café on a sunny beach somewhere.
The Diversity debate has never been more prominent, being covered in the national press and discussed throughout Hollywood and the TV sector on a regular basis.
This panel will offer insight and their thoughts on the issues facing the creative sector in terms on the lack of diversity both on and off screen.
Fraser Ayres is a multi- award winning actor, writer, director and Managing Director and Co-Founder of TriForce Creative Network.
Fraser’s acting career highlights include being named as one of The Guardian’s “Top Performers of 2013”, Time Out Best Performer, several The Stage Best actor nominations. Fraser has appeared in projects including The Smoking Room, Midsomer Murders, the international hit Son of God and NBC’s Miniseries epic AD.
Alongside his creative pursuits, Fraser has turned his diverse talents to producing and managing events and projects on a variety of scales through TriForce, which has been promoting diversity and inclusivity for the past 10 years and is at the forefront of the current ‘Diversity Zeitgeist’ in the UK.
Meet Gavin Ramjaun – a television presenter and anchor of news programming and light entertainment in the UK. He’s familiar with mass audiences for his work on popular programmes on mainstream channels ITV and BBC One.
Gavin’s bright, articulate and energetic personality is currently seen on new channel for the capital London Live. He anchors the 3 hour breakfast programme and lunchtime shows, the football entertainment concept 14-1, and chairs hard hitting current affairs debate shows on the network. . He also hosts live ‘going out’ entertainment shows on the channel – owned and promoted by the London Evening Standard.
He can also be seen on ITV’s flagship show This Morning, as a news presenter, reviewer and contributor in the magazine show’s interactive hub section, engaging with presenters, celebrities and viewers.
Gavin also has his own global web series, which he exec produces and fronts with Yahoo!. These short films involve tackling popular talking point issues which provoke public opinion. Some of the big stories he’s tackled include fracking in the UK, and the arrival of pre-school proms for kids from the US – plus everything to do with the Royals, including the birth of Prince George!
Previously he’s been praised for his work with the flagship morning news show for ITV, called Daybreak / Good Morning Britain. Gavin was brought into the team in 2010, as a correspondent for news and feature events around the UK – and hosted their 2012 Olympic coverage. On the odd occasion, he has been known to hang out and play football with mega-stars like Justin Bieber, or even play golf with Samuel L. Jackson! He started his career at the BBC, on the News Channel and Breakfast, but got his on-air break presenting the iconic children’s news shows Newsround and Sportsround on CBBC from 2005.
Whilst also at the BBC, Gavin reported on Radio Five Live, the Today programme on Radio 4, and the famous BBC World Service. He later became the youngest presenter in BBC World TV history at the age of 26. He also fronted national and international sports coverage for the BBC News Channel and BBC World, and reported on the Winter Olympics in February of 2010.
Gavin’s career path to television has been a traditional yet long one, which is testament to his tenacity and determination. He gained two top degrees at Cardiff University in the business school, then went on to complete the Postgraduate journalism course at City University.
He started out as a runner for Ant and Dec on the ITV peak time series Saturday Night Takeaway, and before joining CBBC in September 2005, Gavin was a trainee broadcast journalist for ITV at Meridian.
Born and bred in Worcestershire, and a keen footballer in his spare time, he played semi-professionally as a teenager and in university, and dabbles in the odd game when it comes up. His other hobbies and passions include art collection and music. He’s also well travelled with family from Ile Maurice, and relatives also across Europe.
The role of the location manager is an intense and varied one, with many responsibilities including researching, identifying and organising access to appropriate sites as part of their role. On top of all of this they are also in charge of working to a usually strict production budget, impossible time limits and maintaining a high standard of health and safety and security during the shoot. This panel of well versed experts will share their experiences from all over over the world on what it is to be a Location Manager in the creative industries.
credits: Pride, Prejudice & Zombies
Harriet was the Location Manager for Suffragette which secured permission to film in the Houses of Parliament for the first time in its history.
Teresa's line-up of big budget films as a location manager is vast and varied and some of her recent projects include The Huntsman: Winter’s War (Universal Pictures), Heart of the Sea (Warner Bros.), Maleficent (Walt Disney Pictures), Cyber (Legendary Pictures), and she’s currently in production on The Mummy for Universal.
Migrating from HD to 4k may deliver more pixels but HDR can enhance your images by creating better pixels that can enhance your story telling capabilities. Existing cameras sensors are capable of creating images of high dynamic range but with current display technologies bound by REC.709 the true beauty can be limited and require cameras to shoot into a Log format in order to preserve the highlight detail. Atomos have developed the AtomHDR monitoring engine providing the ability to monitor Log images in HDR at the point of acquisition simplifying exposure, increases focus accuracy and allows you to capture images much closer to how the human would see.
Fixed rig programmes have evolved greatly since the first Big Brother, offering the viewer a 'reality' that they are involved with what plays out on screen. Whether it's watching them watch TV, joining them on their first date or the drama of an A&E unit, fixed rig has come a long way. So how does it all work from pre-production and what is the workflow to enable a quick delivery to the broadcaster? This expert panel will give us a clue on this and an insight into what's next for fix-rig programming.
He founded Zig Zag with Kevin Utton in 1999 and has established the company as an innovative transatlantic television production company, respected for its eclectic approach to nearly 700 hours of programme making. The company is one of the largest remaining truly independent UK production companies.
Prior to Zig Zag Danny began his career at the BBC and spent a brief time working with a number of UK production companies.
Danny is renowned in the international TV industry not only as a pioneer of audacious ideas, but he has a strong track record of unearthing new TV talent. Recent discoveries include magicians Dynamo and Troy and adventurer Richard Parks, whom he has taken to international audiences.
Danny is executive producer on all Zig Zag productions. Recent shows he has created include ‘I Wanna Marry Harry’ for Fox, ‘Scam City’ and ‘Apocalypse 101’ for National Geographic, ‘Troy’ for Channel 4 and ‘Xtreme Endurance: Race to the Pole’ for Channel 5. Other recent hit productions include ‘Body Bizarre’ for Discovery, ‘Split Second’ for Nickleodeon and ‘Ultimate Brain’ for CBBC.
Danny is a regular speaker at a major industry conferences, judge for several industry awards and a commentator in the international trade media.
Tania has executive produced and overseen many of Studio Lambert's UK unscripted productions including Gogglebox, Seven Days and Undercover Boss.
Tania worked previously for Sunset & Vine, Endemol and RDF Media. She was responsible for the Channel 4 reality hits The Games and Shipwrecked: Battle of the Islands and The Verdict for BBC2.
When Simon first suggested filming real-life environments using the multicamera techniques associated with reality shows, fixed-rig TV was born.
Nearly ten years, and hundreds of millions of pounds of broadcaster investment later, the success of "the rig" shows no sign of abating and its impact on the television landscape is as significant as ever.
Fresh from running two series of First Dates and transforming it from a cult curiosity into a BAFTA-winning mainstream hit, former Dragonfly MD Simon now heads up Label1, ITV Studios' newest factual unit, alongside long-term creative collaborator Lorraine Charker-Phillips.
Between them, they have variously co-created, exec produced and/or commissioned hit rig shows One Born Every Minute, The Family, The Hotel, and Channel 4's most successful prime-time documentary series, 24 Hours in A&E.
Simon will be unveiling an exclusive clip of Label1's first commission during the session - a new rig show documenting the terror and the triumph of job interviews.
Series 4 : First Dates
As the creative industry is dominated by freelancers working across all mediums, what does the current landscape look like for those working in the sector and what do freelancers need to be thinking about in the coming months.
Currently delivering training on CDN Diamond via the Indie Training Fund