THE SHOW(S) MUST GO ON A PREVIEW OF INNOVATION AT BSC AND NAB
APRIL 2022 DEFINITIONMAGAZINE.COM
“The frames aren’t perfect. The lighting is not clean”
Printed in the UK
SMPTE OSVP ANAMORPHIC BATMAN
DOP Benedict Spence on mirroring the mess of the NHS in This Is Going To Hurt
PTZ CAMS INDUSTRY BRIEFINGS
Knowledge is POWER Rental house gurus reveal tech trends, as they discuss the flow of equipment in and out of sets
Vérité on Hefner Tactful techniques in Secrets of Playboy
Big things come in… Small, but pixel-packed box cameras
World-makers Digital gunpowder behind complex CG shots
NUANCED EDITING BALANCING CUTS BETWEEN MARVEL ACTION AND SENSITIVE ISSUES IN DISNEY’S HAWKEYE
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F or me, this Definition is a bit of a shows! It’s also 100 pages. And while it’s caused a lot of blood, sweat and tears from myself and the team, it’s brought with it an encouragement that, touch wood, we’re no longer in a state of disaster recovery. I therefore cannot continue further without lauding the efforts of our designers and sub editors – without them, I wouldn’t have been able to piece together this centuplicate monster, to create the content you love. And bigger does, in this case, mean better. We’ve got more diversity, covering capture tech, behind-the-scenes reports from shows, and films with unique production, editing and VFX techniques. We also catch up with the pros behind the leading rental outfits, garnering insight into how the landscape is evolving – and, with several recent big camera launches, wondering whether more creative tools are going to be good for those still reeling from the effects of stagnant kit during the pandemic. More on page 59. Oh, and if you’re heading to BSC or NAB, don’t forget to say hi. milestone. Since taking the reins, it’s the first issue I’ve worked on that’s going out to a show – correction, two
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Definition is published monthly by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. No part of this magazine can be used without prior written permission of Bright Publishing Ltd. Definition is a registered trademark of Bright Publishing Ltd. The advertisements published in Definition that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication
does not necessarily reflect the views of the publisher. Prices quoted in sterling, euros and US dollars are street prices, without tax, where available or converted using the exchange rate on the day the magazine went to press. Cover image The Batman | © 2022 Warner Bros. Entertainment Inc. All Rights Reserved.
CONTRIBUTORS Verity Butler, Adam Duckworth, Alex Fice, Phil Rhodes & Emily Williamson EDITORIAL DIRECTOR Roger Payne
PUBLISHING MANAGING DIRECTORS Andy Brogden & Matt Pluck
3. APRIL 2022
Regulars 06 ON THE COVER
New anamorphics capture distinct narratives in The Batman
09 INDUSTRY BRIEFINGS
News, views and tips from the world of video production
Industry 15 IT’S SHOWTIME!
We welcome back London’s BSC Expo with a product preview
21 THE LONGLIST
Our A-to-Z glossary of stands at BSC and NAB, featuring seminar hot-picks
25 ONE GIANT LEAP
SMPTE drives forward the future of virtual production
59 RENTAL WARRIORS Insight from six equipment experts on industry and tech trends Production 38 CHAOS AND CONTROL
Measured naturalism mirrors the imperfect state of the NHS in This Is Going To Hurt
48 E XPOSING PLAYBOY
Tactful vérité reveals the truth behind Hugh Hefner’s mansion
Post-Production 30 E DITING LIKE A HAWKEYE Cutting pros hit the right spot in the new Disney+ Marvel hit 68 V IRTUAL WONDERLANDS The digital magic behind Hollywood’s recent blockbusters Gear 79 R EMOTE CONTROL Quality PTZ cams making waves 83 A QUART IN A PINT POT
Modern technology supports big sensors in small boxes
5. APRIL 2022
ON THE COVER . THE BATMAN
BLURRED LINES FOR BRUCE WAYNE How new anamorphics captured distinct narratives M oviegoers heading to cinemas to watch Matt Reeves’ The Batman are sure to notice a background blurriness in scenes focused on character close-ups – and while production pros will be able to tell that this visual effect is the result of large format camera sensors and anamorphic glass, the look is different. It has a softer, textured feel: out- of-focus areas are more characterful and deconstructed, with enhanced fall-off and stunning bokeh, while point highlights are livelier, with slightly more halation. It’s the product of Arri Rental’s new Alfa anamorphic lenses, which emerged from the company’s long-standing relationship with the film’s DOP Greig Fraser and his request for fresh, large format anamorphic options. In the case of The Batman , the glass was integral to the story; highlighting key narratives as they unfold and enhancing their intensity. For example, in one scene, Batman – portrayed by Robert Pattinson – is standing in front of a hazy wall of newspaper clippings with the words ‘lies’ written across them, in the blood of one of The Riddler’s victims. His costume and discerning facial features, however, are clear in the foreground – indicative of his intent for vengeance.
THE BATMAN ON THE COVER .
07. APRIL 2022
BRIEFINGS INDUS TRY.
Industry briefings The latest news, views and hot tips from the world of video production
CINELAB BRANCHES INTO DIGITAL Cinelab has expanded on digital services by joining with one of the UK’s leading digital imaging and dailies facilities, On Set Tech. This move makes it the only UK company to offer both film and digital services,
to add value to productions, making great content – whether originating on film or digital formats. Combining our businesses enables us to further provide the very best expertise, in our mission to support all filmmakers.”
and rewarding projects. These include the Elton John biopic Rocketman , Edgar Wright’s highly regarded psychological horror Last Night in Soho , Prano Bailey- Bond’s nasty horror film Censor and Will Sharpe’s historical drama The Electrical Life of Louis Wain . Following the merger, Adrian Bull remains as Cinelab Film & Digital CEO, and managing directors of On Set Tech, Joshua Callis-Smith and Simon Chubbock, become CTO and COO of the new venture, respectively. “This is a real milestone; it’s an exciting time for the whole company,“ says Bull. “I have known Joshua and Simon for many years and admired their approach to client service, the quality of their work and the culture they have created at On Set Tech. I am delighted we are moving forward together, sharing a vision to leverage each other’s strengths. We will collectively continue
from pre-production through to deliverables, all under one roof. Cinelab’s current amenities include the processing of all colour motion picture film gauges, providing an incredibly wide range of film scanners, delivery of secure film dailies, and bespoke archive and restoration services. In addition, it will now offer digital imaging services, custom-tailored dailies, as well as colour and workflow support. The two companies have been collaborating closely for years, and on top of sharing secure premises at Cinelab’s Slough laboratory, have already completed multiple complex
A NEW CHAPTER This venture forms Cinelab Film & Digital, with Adrian Bull (left), Simon Chubbock (centre) and Joshua Callis-Smith (right) leading the way
09. APRIL 2022
INDUS TRY. BRIEFINGS
Scan Computers launches cloud division Scan Computers’ 3XS Systems GPU-accelerated workstations and servers are powered by
which provide high- performance virtualised graphics applications for CAD, CAE, AEC, BIM and M&E. It also has complimentary 3XS Cloud Rendering services, to deliver rapid CPU and GPU rendering on more complex projects. The third service, a 3XS Pro Video Cloud Workstation, delivers high-performance virtualised professional video applications for editing, colour grading and VFX. 3XS Pro Graphics Cloud Workstations, Pro Video Cloud Workstations and Cloud Rendering services enable remote teams to work collaboratively in real time, using Nvidia Omniverse Enterprise. The 3XS DGX service provides high-quality, virtualised deep learning for data scientists, using the power of Nvidia DGX AI appliances. Finally, 3XS Cloud PC simply delivers everyday office applications to any device, anywhere.
HAS COVID-19 CHANGED THE FACE OF SPORTS BROADCASTING? For a long time, live sporting events were cancelled, and became more accessible to view at home as a result. This changed the way these broadcasts were delivered, with remote commentary teams and social distancing in place. Now that most lockdown restrictions have eased, are we still utilising the technologies that allowed sports broadcasts to continue? For coverage of major events, like the 2020 Tokyo Summer Olympics, Eurosport used a low-latency solution that allowed commentators to narrate remotely – as did BT Sport for its Bundesliga deal. But this presented significant challenges, with delays to commentary and delivering multiple streams to different audiences over one live video stream. The latency – or measure of delay between video capture, playback and viewer receiving it at home – needed to be below 250ms to prevent lag. Eurosport deemed its use of the technology a success during lockdown, and now deploys it regularly, even with restrictions eased in most countries. The 2020-21 Premier League season began with no supporters inside stadiums, and it stayed that way for the most part. As a result, the Premier League struck a deal with Sky Sports, BT Sport and Amazon Prime Video to broadcast every match live. Now that supporters can attend matches once again, this has reverted back to the usual model, with a small number of games selected for live broadcast at set times. For many, the temporary removal of the 3pm blackout that prevents standard matches from being broadcast remained, opening it up to those who can’t be there in person. While live supporters are important to football and other sports clubs, many argue that those who can’t attend matches should be catered for. The pandemic shifted expectations in sports broadcasting. Now that sports in multiple countries can once again be played in front of a crowd, how long will the changes last?
professional-grade Nvidia RTX GPU accelerators and vGPU technology. It is the gold standard when it comes to delivering content creation and data science applications. Taking expertise from these physical systems, the company has packaged them into a range of cloud services, to give customers a virtualised GPU compute, wherever and whenever they need it: on- or off-site. The new service, called Scan Cloud, provides a foray into the world of cloud computing, offering a range of public cloud services, in addition to delivering private cloud solutions. The cloud workstations – running either Windows 10 Pro or Ubuntu – are delivered securely from a centralised server infrastructure that can be tailored to meet customer requirements. The portfolio has five services, including 3XS Pro Graphics Cloud Workstations,
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Introducing DaVinci Resolve 17.4 Up to 5 times faster for 8K editing and grading on Apple Mac models with M 1 Pro and Max!
Highest Quality Pro Audio Effect Tools Fairlight audio now supports Steinberg VST3 audio plugins, giving access to more audio ef fects so you can create the perfect soundtrack. Plus, there are keyboard shortcuts or click and drag to reorder, move and duplicate effects in the Fairlight mixer. Single sided audio transitions are displayed as fades making it even easier to adjust ef fects. New Resolve FX A new Resolve FX called custom mixer allows you to combine effects and make adjustments to grades with finer control. Plus, a new 3D keyer adds the ability to make f iner adjustments to the key and matte f inesse settings. For DaVinci Resolve Studio, there’s a new film halation which adds glow or light reflection ef fects around high contrast edges for a more f ilmic look.
DaVinci Resolve 17.4 transforms the speed of DaVinci Resolve to work up to 5 times faster on the new Apple Mac models with the M1 Pro and M1 Max chips.This massive speed increase lets you play back, edit and grade 8K projects even faster, and work with up to 12 streams of 8K footage. It also adds Dropbox Replay integration, improved subtitling, automatic color management, audio plugins and more. Powerful New Edit Page Features The edit page now features better functionality for position curves in the timeline. You will also now be able to use DaVinci Resolve Speed Editor to switch between cameras in multicam clips on the edit page. Plus for subtitling, it includes automatic resizing of backgrounds and cursor placement, as well as nested timeline subtitle tracks now auto populating the main timeline. Faster and Simpler Color Management With greater support for automatic color management, it’s now faster and simpler to set up projects. Additionally, this update adds support for ACES 1.3, including gamut compression. This allows you to have a more accurate display of wide gamut images which allows you to be sure you are getting the best representation of the source image.
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INDUS TRY. BRIEFINGS
BLACK WOMEN DOP SCHOLARSHIP AWARD To mark International Women’s Day, the National Film and Television School recipient joining the two-year NFTS Cinematography MA in January
Upon completion, the NFTS and Netflix will work with the recipient to plan and support their next steps into the industry, putting them forward for work placements and employment opportunities on Netflix UK productions. Fiona Lamptey, director of UK features at Netflix, says: “In a year where a woman has been nominated as best cinematographer for the first time in Bafta’s history, and only the second time in the Academy’s, we’re at the very start of progress. There are still too few role models to make black women believe they can become a DOP. This scholarship is just one step on a larger journey towards inclusion, but we hope it opens the door for more black women to fulfil their dream of working behind the camera.”
2023. It is the only two-year specialist cinematography MA in the UK, with an intake of ten students per year learning the art and craft of video production – combining creative expression with technical expertise. Netflix will entirely fund the two-year NFTS Cinematography MA, in addition to supporting annual living expenses.
(NFTS) announced the Black British Woman Cinematographer Scholarship Award. Supported by Netflix, this will fund emerging black women filmmakers, with the aim of increasing equality and representation behind the camera. Applications for the Black British Woman Cinematographer Scholarship Award are now open, with the first
TAKE A LEAP You must be a UK citizen to apply for the scholarship. Get your applications in by May 2022
A ‘Cooke look’ driven by DOPs Cooke Optics has launched the S8/i Full Frame series of seven lenses,
control over depth-of-field and flare characteristics, while providing low- light performance without graining. The lenses feature Cooke’s intelligent /i technology, the latest iteration of which includes /i data focus and iris positions, /i motion inertial data and /i maps factory-calibrated shading and distortion data.
by smooth, spherical bokeh and minimal colour fringing, enabling cinematographers to create sensitive and emotional images with a high degree of dimensionality. With a maximum aperture of T1.4, the lenses are among the fastest produced for larger than full-frame capture. They also offer greater
with an all-spherical design and T1.4 throughout. This collection is currently available to order in 25mm, 32mm, 40mm, 50mm, 75mm, 100mm and 135mm focal lengths. A further nine lenses will join the range later in the year. Motivated by feedback from DOPs wanting to create more realistic and film-like images with spherical lenses for digital motion capture, the S8/i is an evolution of the ‘Cooke look’, having an almost organic feel and clean bokeh. To achieve this, Cooke concentrated on optimising contrast performance for the S8/i, to suit the resolution of digital cameras today and in the future. Under the body, its all-spherical design produces a near-telecentric output of light rays, which is efficient for digital sensors. It is characterised
BSC SHOW PREVIEW INDUS TRY.
The beloved BSC Expo returns after a two-year hiatus, promising a jam-packed demonstration of innovation – we have the highlights
WORDS. Alex Fice
a beeline for Sony’s stand, to check out the Venice 2. You will get a first look at Cinelab’s brand-new OXScan 12K scanner, and have the chance to chat with experts about the latest equipment and technology for remote production, virtual reality and much more. We look forward to seeing you there!
that were found. It’s also an opportunity to get your hands on the incredible gear manufacturers continued to produce through the pandemic – it’s about time we gave them the recognition they deserve! Some will no doubt be itching to try Red’s stunning flagship DSMC3 camera, the V-Raptor, while others will be making
The British Society of Cinematographers Expo is back, from 7-9 April at Battersea Evolution in London. Hoping to make a strong return after the last show in 2020 – which had the largest number of visitors in BSC history – this year’s Expo promises plenty of fascinating insight into recent challenges, and the ingenious solutions
Aputure Aputure is building a name for itself as an up-and-coming LED manufacturer, with a growing network of supporters around the world. The company will be at BSC to tell you all about its latest developments, like the recent release of the Light Storm 1200d Pro and Nova P600c flagship models. The LS 1200d Pro is the brightest light in Aputure’s line-up, boasting a 1200w COB, claiming to be the highest-output Bowens-mount fixture on the market.
Using LumenRadio CRMX and Art-Net/ sACN via an etherCON connector, the LS 1200d Pro integrates seamlessly into any professional DMX interface. The Nova P600c is a 600W RGBWW LED soft light that combines intense output with precision colour quality. It’s capable of producing 2298+ lux at 3m and has a CCT range of 2000-10,000K. Get hands- on with these lights at Aputure’s booth, which it will share with sister brands Amaran and Deity Microphones.
Arri Stop by the Arri stand to discover its latest camera and lighting products. The team will be keen to show off the Arri Orbiter and an extensive accessory range, including the anticipated Orbiter Docking Ring, which enables the Orbiter to accept industry-standard, third-party optics. Check out cameras such as the Alexa LF and Alexa Mini LF, alongside Arri Signature Zoom lenses, which deliver outstanding optical performance across an unparalleled range of focal lengths, from 16 to 510mm. Also on display is Arri’s latest hand unit, the Hi-5, which provides reliable wireless camera and lens control in the trickiest situations on-set. Discover more about Arri’s line-up of pro camera accessories, too, which offer additional rigging opportunities and mounting options for the Sony Venice and Venice 2.
15. APRIL 2022
INDUS TRY. BSC SHOW PREVIEW
Cinelab Hot off the press is the news that Cinelab Film & Digital has installed its brand-new large format, high- resolution OXScan 12K scanner at the BSC Expo – the first in the UK capable of processing and scanning 65mm original camera negative film. The OXScan offers high-resolution, high-quality scanning across formats for remastering, capable of handling 65mm 5-perf and 15-perf IMAX, 70mm print and 35mm film. Cinelab recognises there has been a resurgence in shooting large format film in the industry, having worked with 65mm, IMAX and 35mm for No Time to Die . This prompted the move to instal the OXScan in the UK. “Since establishing our 65mm processing capability with Kodak back in 2016, we’ve worked on several inevitably high-profile features, but there has been a lack of high-end finishing and scanning available in the UK and Europe,” says Adrian Bull, CEO of Cinelab. “This solution from DFT provides the best pin-registered 65mm 5-perf and IMAX scans from this special format. Also, we are looking forward to developing the market in 8K finishing and remastering of 35mm film.” Drop by Cinelab’s booth to find out more about this exciting development – and see the OXScan in action.
Aspectra Aspectra will be showcasing PAG’s innovative, high-end camera power solutions for digital cinematography, TV production and broadcast acquisition. PAG is known for providing the industry’s most advanced battery technology in the form of PAGlink, a unique system of intelligent linking batteries. If you’re looking for massive power without the weight, explore the Mini PAGlink system. It offers lighter kits in 50Wh and
99Wh capacities – ideal with smaller 4K camcorders, large format cameras, monitors and panel lights; they also come in V-Mount and Gold Mount. Head to Aspectra’s booth to hear about the benefits of battery linking, from improved life to greater suitability for air travel. Mini PAGlink employs the same li-ion cells as those approved by Nasa for its mission to Europa, one of Jupiter’s moons. They’re literally out of this world!
Power giant Hawk-Woods will be at BSC showcasing the MXB-880 – a solid, but lightweight battery with an in-built charger that boasts 880Wh in a small form, weighing just 7.2kg. It’s the first battery designed within Hawk-Woods’ new Mini range of floor batteries, and has received glowing reviews so far. The sleek, tidy design gives it a professional look, while practical features like a durable handle make for easy carrying. Also noteworthy are dual voltage outputs and a display screen. A lighting version is now in development for later in the year.
Creamsource Creamsource fixtures are known for extreme versatility, and its latest high-powered LED guarantees just that. Designed for film production, the Vortex4 is a 1x1 325w system boasting a narrow native beam angle of 20°, and CCT range from 2200K to 15,000K. It’s ideal as a hard punch light to push through diffusion, or a soft, creamy light. Designed with durability and elegance in mind, it utilises world-class engineering to deliver aerospace-grade sealing, protecting it from extreme shooting conditions – from adverse weather to messy effects machines. Head to the stand for more about its artist-first approach to UI/UX, and learn how it integrates with the Vortex8 to bring visions to life.
BSC SHOW PREVIEW INDUS TRY.
Holdan Atomos/Samyang Xeen UK distributor Holdan will showcase its complete range of on-camera monitor/recorders and production monitors from Atomos, as well as the ultra-lightweight, high-performance Xeen Cine prime lenses by Samyang, including the just-announced Xeen Meister optics. Also featured are Teradek, with its wireless transmission solution, and Kondor Blue’s cages and accessories. DIT and post solutions will also be present, with Asus ProArt monitors, Sonnet’s DuoModo expansion system and Promise RAID storage.
CVP and Roe Find CVP on the mezzanine floor of BSC, and get to grips with the best production solutions – from leading cine-style cameras, to NDI workflows and the latest in motion control. There will be an impressive display of over 30 monitors, ranging from five to 31in, with the chance to make direct, side-by-side comparisons and identify the best product for you. At the Lens Bar, take your pick from an extensive range of new and used optics – CVP’s biggest line-up yet. Encounter manufacturers such as Zeiss, Cooke, Arri, Angénieux, Leitz, Canon, Sigma, Fujinon, Tribe7, DZOFILM and more. New this year, watch an exclusive presentation of virtual production technology by Roe Visual, in partnership with Disguise, Ncam, TrackMen, Arri and GhostFrame – a must if you’re interested in the latest in broadcast.
Inovativ Cart specialist Inovativ designs and manufactures world-class mobile workstations, from compact travel carts to complex studio units, capable of holding full DIT set-ups or cine and broadcast rigging stations. BSC Expo is an opportunity for customers to get hands-on with Voyager, Echo, Apollo and Deploy models, not to mention the Axis workstation – along with the many accessories that allow the range of carts to be fully customised for production. Core SWX Renowned for robust build quality and high cell-cycle count, Core SWX is a market leader in batteries and charging solutions for the broadcast, digital cinema and professional video industries. Its power options suit everything, from hybrid mirrorless to hungry cinema cameras – and plenty in-between. On the booth will be Powerbase Edge, Hypercore NEO, Nano Micro and its most recent release, the Maverick – a next-gen mobile power station.
ProAV Come and meet one of the UK’s leading suppliers of pro video kit, with over 20 years’ experience supplying clients at all levels of the market. This year, it displays Red Red is debuting its flagship DSMC3 camera, the V-Raptor, alongside the Komodo 6K. The team will offer demonstrations of both machines, allowing you to experience the V-Raptor’s new multi-format sensor, making in-camera format selections from 6K S35 to 8K large format. The Komodo is an impressive beast with a global shutter sensor, guaranteeing Red’s high standard of image quality and dynamic range, in a form factor of just 101.6mm. At the company’s innovative workflow station, visitors can unleash the power of Redcode.
the latest solutions from Sony, Canon, Blackmagic, Panasonic and Kinefinity, plus products from Swit, Atomos, Quasar Science, Tokina, Sigma and more.
17. APRIL 2022
BSC SHOW PREVIEW INDUS TRY.
Rotolight Rotolight is a British manufacturer of innovative LED products for the motion picture and photographic industries. Its lights are easy to use, with a full-colour touch-screen display that lets you access key features quickly, to achieve the exact colour you want at a moment’s notice. You’ll have a chance to meet the team at BSC, where Rotolight will exhibit its award-winning Titan lights, known for their touch-screen interface, RGBWW capabilities, CineSFX and SmartSoft diffusion. The Titan X2 is turning heads in the industry, with DOP and editor Matt Allard describing it as ‘the new gold standard against which all other lights should be compared’.
Sony Sony’s team will take you through its extensive range of filmmaking tech, from image and audio capture to on-set and post-production monitoring. One hotly anticipated addition to the line-up is the Venice 2, on display for the first time in the UK since release. Building on its predecessor, the Venice 2 offers compact design, internal recording and a choice of two sensors: the full-frame 8.6K or original 6K Venice. It’s inherited some popular features from the original, including colour science, Dual Base ISO and eight stops of built-in ND filters. Watch out for demonstrations of the leading on-set workflow of the Venice 2 with Pomfort Livegrade. You’ll be able to explore Sony’s full Cinema Line range, which caters for creators of all budgets. Experience the Venice Rialto extension system, discover the PXW-FX9 v3.0’s anamorphic mode, and try a selection of renowned Alpha lenses. If you’re interested in workflow, there will also be a state-of-the-art BVM-HX310 post-production monitor to view, alongside the 4K HDR PVM-X series of on-set monitors and location sound recording solutions. See stunning footage captured with the Venice 2 in Rob Hardy’s film, Venezia , which will screen during the show.
Motion Impossible Demonstrating its range of engineering solutions for the Agito camera movement system, Motion Impossible is bound to have the crowd wowed! Broadcast bundles enable the high-precision and agile control of a tracked dolly with column-mounted camera heads. Magrax enables the Agito to follow a magnetic strip laid on a surface, underneath a carpet or embedded in a set. Operators lay the path, and the Agito
autonomously follows, while controlling the head and/or tower elevation. The Agito Column has been developed for heavier payloads, supporting up to 50kg. Agito two-axis heads are based on the Egripment 205 and 306 Remote Heads. The first is lightweight, providing smooth camera motion for payloads up to 10kg. The second is larger and more powerful, making for accurate movement for payloads up to 32kg.
Zeiss Fans of Zeiss are in for a treat with the premiere of its Supreme Prime 15mm lens at BSC. The latest optic completes the family of successful Supreme Primes, known throughout the world for exceptional quality, portability and versatility. The 14-piece, high-end cine lens series ranges from 15 to 200mm, with maximum apertures of T1.5 to T2.2. The Supreme Prime 15mm provides DOPs with an extremely wide-angle view and T1.8 maximum aperture. Test it out at Zeiss’ stand, and experiment with flaring using Supreme Prime Radiance lenses in a purpose-built darkroom.
19. APRIL 2022
BSC AND NAB GLOSSARY INDUS TRY.
The longlist Anticipating the maze that is finding exhibitors at BSC and NAB, here’s our A-to-Z glossary of stands
A & C Ltd
A.C. Entertainment Technologies
Fujifilm UK Ltd/Fujinon Cine Lenses
Backstage Equipment Inc
Bebob Factory GmbH
Grip Factory Munich (GFM)
Guild of British Camera Technicians
Guild of Television Camera Professionals Stand 6
Proactive UK Ltd/ProAV
Beijing Lightstar Electronic Corp
British Cinematographer Magazine
British Society of Cinematographers
Canon (UK) Ltd
IDX Technology Europe Ltd
RED Digital Cinema
Ronford Baker Engineering
Cine Power International
LCA Lights Camera Action
SAMAS Cases & Covers
Cineo Lighting/NBC Universal
LEDGO Technology Limited
Sigma Imaging UK
Cirro Lite (Europe)
Licht-Technik Vertriebs GmbH
Solid Grip Systems
The Light Bridge GmbH
Sony Professional Solutions Europe
Miller Fluid Heads (Europe) Ltd
Daylight Grip & Textiles
The Association of Camera Operators (ACO)
Movietech Camera Rentals
True Lens Services (TLS)
New Day Pictures
Digital Orchard Talent Bar
Octica Professional Ltd
21. APRIL 2022
BSC AND NAB GLOSSARY INDUS TRY.
A.C. Lighting Inc
OZEN Camera Support Equipment
Stand C7141 Stand C6749 Stand C8915 Stand C9312 Stand C10021 Stand C6143 Stand C6113 Stand C7925
Stand C8912 Stand C5623 Stand C6540 Stand C8923 Stand C7736
AbelCine Absen Inc
Stand C6735 Stand C8222 Stand C3607 Stand C7935 Stand C5334 Stand C4516 Stand C5632 Stand C6715 Stand C3331 Stand C3315 Stand C6122 Stand C9612 Stand C10901 Stand C9815 Stand C5433 Stand C10215 Stand C11519 Stand C8522 Stand C3319 Stand C5432 Stand C7715 Stand C5326 Stand C5828 Stand C5637 Stand C10710 Stand C6132 Stand C10115 Stand C8116 Stand C6838
Acebil/Eagle America Sales Allied Broadcast Group
CueScript D2 Motion
American Grip Inc.
dedolight – Dedo Weigert Film GmbH Stand C6532
Remote Camera Technology
Deity Microphones DPA Microphones
RFALV Services ROE Visual US Inc
Stand C6413 Stand C8609 Stand C7945 Stand C5323 Stand C5729 Stand C5408 Stand C6127 Stand C3027 Stand C6422 Stand C4426 Stand C6932 Stand C8519 Stand C7349 Stand C3019 Stand C1307 Stand C5346 Stand C5332 Stand C6127 Stand C6140 Stand C2119 Stand C7421 Stand C4208 Stand C5442 Stand C3836
ASC – American Cinematographer Stand C11020
Sennheiser Electronic Corporation Shenzhen AOTO Electronics Co Ltd Shenzhen Hollyland Technology Co Ltd
Ascentium Capital LLC
Flanders Scientific Inc Fletcher Consulting
Stand C3131 Stand C8937 Stand C6543 Stand C9526 Stand C10516 Stand C10916 Stand C7012 Stand C3940 Stand C6537 Stand C5021 Stand C6144 Stand C8622 Stand C3941 Stand C4742 Stand C10312 Stand C11019
Astera LED Technology GmbH
Atlas Lens Co
B&H – The Studio
Gyro-Stabilized Systems IDX System Technology Inc
Sony Electronics Inc Soyuz Microphones
B&H Photo, Video, Pro Audio Barbizon Lighting Company
Ikegami Lawo AG
Special Grip KFT Steadygum S.L.
Bebob Factory GmbH
Lindsey Optics LLC
StellaPro Lights by Light & Motion
Birger Engineering Inc
Logitek Electronic Systems Marshall Electronics Inc
SWIT Electronics Co Ltd
Blueshape Energy Inside Breakthrough Filters
Technocrane Ltd Telemetrics Inc
Miller Camera Support LLC Mo-Sys Engineering Ltd
Thinklogical, A Belden Brand
CameraTools Ltd Canon USA Inc Carl Zeiss SBE, LLC Chimera Lighting
Stands C201LMR, C202LMR, C4432 MRMC
NANLITE/NANLUX Nila LED Lighting
Vitec Production Solutions
Stand C7718 Stand C4749 Stand C6732 Stand C3931 Stand C5726
ASC Cinematography Lighting Workshop April 24-25, 12.00-5pm, N262-N264
Out of this World: Virtual Production on Roninfilm’s Gods of Mars April 26, 12.35-1.35pm, N255-N257 The talented team behind Roninfilm’s Gods of Mars share insights into VP, tackling subjects from building a world in Unreal Engine, to live-action SmartStage lensing and workflow. Hear from Oscar-winning DOP/VFX supervisor David Stump, director/producer Peter Hyoguchi, VP producer Joan Webb, CG supervisor Dan Lauer and editor Robert Dias. #GALSNGEAR: Remote Workflows, Creative Results April 24, 4-6pm, C5646 – Create Inspiration Zone Join director, producer and founder of #GALSNGEAR, Amy DeLouise, for a preview of Tuesday’s Women’s Leadership Summit. Discover the latest innovations revolutionising remote workflows and learn how #GALSNGEAR is driving creative vision and results. After the talk, there will be a networking mixer on the show floor, where you’ll have the chance to get to know your peers and hear more from the speakers. More info coming soon.
HDR Challenges & Solutions April 24, 12.35-12.55pm, W307-W309
The American Society of Cinematographers is offering a workshop, where experts in film and television production will discuss cinematographic lighting techniques in two five-hour sessions (one on Sunday, one on Monday). Instructors to be announced sometime in March.
Bill Redmann, director of standards at Immersive Media Technologies, will address the challenges and solutions of HDR, providing an introduction to tone mapping. Learn how content producers can utilise tone compression to map from HDR to lower HDR or SDR luminance, and tone expansion to map from SDR or HDR to higher HDR luminance. The techniques covered include HLG, static look-up tables and dynamic metadata. NABiQ: Map Out the Ultimate Production Workflow for a Hybrid World April 24, 10.30am-12pm, N730 – Create Innovation Zone In this interactive workshop, you’ll map out the ultimate production cycle for a hybrid world. Take a decentralised workflow as your starting point, identifying the best aspects of in-person and virtual production. By pooling ideas with your peers, you’ll begin to figure out how these could be combined in a hybrid approach, that manages to minimise costs, without compromising quality.
Creative Camera Conversations: Nightmare Alley April 24, 1.55-2.55pm, N255-N257
If cameras could talk – find out what it’s like to work alongside one of the world’s most renowned directors. The Society of Camera Operators has invited Gilles Corbeil SOC and first AC Doug Lavender to discuss the creative decisions that went into the production of Guillermo del Toro’s Nightmare Alley , which received four Academy Award nominations. They will discuss the unique artistic collaboration that goes into bringing the wonderfully surreal worlds of del Toro’s imagination to life, providing fascinating insight into the challenges they encountered along the way.
23. APRIL 2022
SMPTE RIS OSVP INDUS TRY.
One giant leap
How SMPTE is driving the future of virtual production, ensuring its technological evolution continues to benefit creatives
WORDS. Chelsea Fearnley
T he Society of Motion Picture and Television Engineers (SMPTE) brings together the best minds in the industry to explore the most exciting advancements in media and entertainment tech, with shared dedication to the collaborative process. Just as importantly, as SMPTE recognises innovations and their ability to enable fresh forms of storytelling, the society also understands the complexity this can bring to professional media workflows. That’s why, in 2021, SMPTE developed an initiative – Rapid Industry Solutions (RIS) – to promptly address resulting challenges, aligned with the rapid rate of technological change. The goal of RIS is to provide a neutral, non-commercial platform to facilitate the creation of educational content and
standards on the emerging science and methods employed in the industry – which, at its heart, SMPTE has always done. RIS just puts a new twist on the process of creating those deliverables. The first major difference in the RIS is that it enlists an advisory group of industry participants, to guide the exploration of growing technologies and ensure that SMPTE always stays accountable to the needs of the field. Essentially, we don’t want people to spend a bunch of time evolving an innovation that isn’t going to work for us (3D, cough, cough). It’s also a different way of doing business for SMPTE, with advisory group members sponsoring projects and making the output free to all SMPTE members. These are the people that will benefit from it most.
OSVP INITIATIVE The first objective within the RIS initiative is OSVP – on-set virtual production. This has been a hot topic since the start of the pandemic and the success of Disney+’s The Mandalorian . Its many potential uses and advantages are causing content producers to re-examine how they could capitalise on its emergence. It combines traditional production tools with virtual and augmented reality, CGI and game engine technologies to film on a stage and view virtual graphics in real time. Things like changing location are made as simple as swapping out a background. The programme, with nearly 50 companies and individuals involved, will offer creatives, technologists and executives much-needed resources for education and professional development. One of the early RIS OSVP deliverables was a wallchart that defines the on-set virtual production workflow, breaking it down with taxonomies and ontologies, identifying key components as a
“It’s a different way of doing business for SMPTE, with advisory group members sponsoring projects and making the output free to all SMPTE members”
PIXEL PERFECT LED screen specialist 80six demonstrated the virtual set experience at an SMPTE event in February
25. APRIL 2022
SMPTE RIS OSVP INDUS TRY.
ETC lighting control console. Together, they enabled a smooth virtual production workflow. Learn more by heading to smpte.org/sections/united-kingdom to view a recording of the event, broadcast on 2 February 2022 in London. We’ve also got an in-depth look at Brompton Technology’s input on page 28.
“A pop-up LED volume was constructed by the team behind Virtual Production Studios at 80six, and comprised cutting-edge products from its inventory” between these organisations can be used to create a symbiotic virtual production workflow. In a three-day event, which included support from partners, viewers were given an interactive experience in the world of the virtual set. A pop-up group, and digging deeper into their fundamentals. Going forward, the RIS OSVP community will use the wallchart as a pathway for discovering interoperability from sources such as standards bodies, suppliers and educational institutions. Rather than reinventing, RIS is focused on identifying the research by speciality organisations, and aggregating it so that it’s available to a broader audience – and can be used in tandem with other toolsets. Recently, SMPTE RIS OSVP demonstrated how the good work
LED volume was constructed by the team behind Virtual Production Studios at 80six, and comprised cutting-edge products from 80six’s inventory, including two Roe Visual Diamond LED screens with processing by Brompton Technology, Unreal Engine, the Mo-Sys StarTracker system, Disguise’s VX content servers and
GO WITH THE FLOW This 2021 OSVP wallchart illustrates the SMPTE standards and workflow processes for some relatively new fundamentals in the filmmaking industry – how to build your virtual production ecosystem
27. APRIL 2022
ADVERT I SEMENT FE ATURE . BROMPTON TECHNOLOGY
TRUST THE PROCESSOR After the success of the SMPTE On-set Virtual Production Event, we caught up with Brompton Technology’s director of business development, Rob Fowler
DEFINITION: Virtual production is a major talking point in the industry at the moment – and events like the one, arranged by SMPTE, seem to be fulfilling a gap for people who are curious about seeing this technology in the flesh. Would you agree? FOWLER: Definitely! When 80six contacted us on behalf of SMPTE to ask if we could get involved, we thought it was a wonderful idea and very timely. It’s possible to talk a lot about VP at the moment, and there’s no shortage of articles, thought pieces and musings online. But it’s a very visual technique and seeing the equipment in person, especially after the pandemic, was a great opportunity for those lucky
enough to visit. The live stream proved to be a very informative session for those joining remotely, too. DEFINITION: For those that weren’t there or haven’t seen the live stream yet, can you tell us a bit about where Brompton fits into the virtual production workflow? FOWLER: Brompton Technology is a specialist manufacturer of video processing for LED panels. Although there are many forms of virtual production, the use of LED screens for in-camera virtual effects is probably the bit garnering the most attention through the high-profile episodic dramas and movies that have been shot this way. Brompton makes the front-end processor, which takes in the video feed supplying the imagery (in the case of the live stream, a Disguise system running Unreal Engine), as well as receiver cards that go into the LED panels themselves. These form a significant part of the workflow and signal path, as well as an intrinsic element of the panel hardware (in this case Roe Diamond). That receiver card not only allows communication from the processor, but also drives the panel itself. In fact, we like to think of the cards as panel
“We offer a wide gamut of colour and image controls, allowing users to correct on screen” controller cards, but receiver card is the terminology most widely used. DEFINITION: That sounds quite specific. Can you explain how choosing a set of processing becomes important? FOWLER: We have been supplying LED processing to customers and panel manufacturers for almost a decade. In that time, we have given users an ever- increasing amount of control. When I began working in LED video as a technician, processing controls were limited to basic colour and brightness. Now, we offer a wide gamut of colour and image controls, allowing users and stakeholders (technicians, engineers, DOPs, DITs and directors) to correct and optimise the image on the screen, as well as supporting important new developments like HDR.
LOOKING AHEAD Brompton showcases ShutterSync ® at Epic Games’ London Innovation Lab
BROMPTON TECHNOLOGY ADVERT I SEMENT FE ATURE .
THE FUTURE OF FILM Sonequa Martin-Green (centre) films a scene in Pixomondo’s AR wall stage in Toronto
DEFINITION: Virtual production with LED has been quite the story during the pandemic. Has it changed what you do as a company? FOWLER: It has. Already in 2019 we identified virtual production as a key area for growth, as productions turned to LED to give a raft of improvements in workflow and cost saving. The pandemic supercharged that and led us to accelerate tools we already had in the pipeline, like Frame Remapping (giving the ability to shoot from two perspectives or different content on the same wall), ShutterSync® (a tool allowing creatives to work at different shutter angles without the risk of artifacts on camera) and 3D LUT (the ability to import lookup tables onto the processor). Combined with tools like Pomfort’s Livegrade and Assimilate’s Live Looks and Live Assist, you get real-time grading of LED walls. DEFINITION: Looking ahead, is that set to continue? FOWLER: Very much so. In our V3.3 release, which is available to download from our website, we have support for
“Locating things together allows us to troubleshoot issues rapidly. Our 24-hour technical support has been key to the company’s growth”
the real-time backdrop looks as it should as the camera pans around the volume.
tracking markers. That’s really interesting for VP. We already support Mo-Sys, which provided the tracking system at the SMPTE event. This means that instead of using physical markers (usually dots on floors or ceilings) to locate the tracking camera, we can embed those markers into content on the walls to be visible to the tracking camera, but invisible to the cinema camera. This is a new way of ensuring the tracking position of the camera is accurate, so that
DEFINITION: Demand for your processors must be high – any plans to expand? FOWLER: Yes. We have just opened an office in Taiwan to complement those we have in Shenzhen, China, which plays a big role in supporting manufacturers, and in Burbank, LA, which is perfectly placed to support the film industry. We are also moving into a bigger HQ in London, where processor manufacture will continue alongside R&D support. That’s important to us, as locating those things together allows us to troubleshoot issues rapidly. Our 24-hour technical support has been key to the company’s growth and is something our customers value hugely. It also brings a lot of satisfaction to be able to see the products rolling out the door – the final step in a major process: from conception on the drawing board, to realisation in cartons destined for concert halls, theatres, TV studios and film sets around the world.
DEMONSTRATION Brompton Technology showcases Frame Remapping at White Light’s The Mermaid, London
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