Explore the Future of Film and TV Production


MUNICH • 28-29 june  • 2024

Friday 28 June 2024

Seminar Room 1

10:00 – 11:00
Challenges and nature of Mixed reality: how realities mixture may look real. Lighting approach

IMAGO Technical & Education Committees Conference

Aleksej Berkovic ITC co-chair
Tim Kang ASC Associate Member
Roberto Schaefer ASC, AIC

A discussion of innovative lighting technologies. Mixing light sources of a different nature for natural look of captured footage.
– Demand on light character control,
– Basic features and ways of keeping those as creative tools
– Successful harmony of physical and generated reality in visual storytelling

11:15 – 12:15

Automated metadata. The last place to look for saving money

IMAGO Technical & Education Committees Conference

David Stump ASC, BVK, ITC co-chair
Patrick Renner POMFORT

‘’I always juxtapose automated metadata against what was done in the past, something that I call “meta paper.” The data regarding the lens, camera height, and tilt angle was all sort of estimated, written down on paper, and filed away in a notebook on a shelf somewhere in the editor’s room. When VFX or anyone else needed that data, someone had to go get the notebook, rummage through it, and find the piece of data that was needed.

If it’s automated and built into the files, you don’t have to bother anyone to get it, and it’s not generated by a human being so it’s not distrusted nor is it prone to error. I think automated metadata through the entire imaging pipeline will eventually save tons of money in film production.

In a time when producers think the only way to save money on a show is to beat up rental vendors and the crew for their day rate, that’s a lot of money’’

12:30 – 13:30

Age Discrimination - BVK

Details TBC

13:45 – 14:45

Understanding judder in motion imaging

IMAGO Technical & Education Committees Powerpoint

David Stump ASC – BVK – MITC – ITC co-chair

Stefan Grandinetti BVK, HdM University
Henning Rädlein Head of digital workflow support, ARRI

Judder is an annoying lurching from one frame to the next in a scene that happens when you pan or track the camera too fast.  This will be an educational presentation on the mechanics of the phenomenon and how cinematographers can cope with the physics of digital cinema cameras shooting at 24fps.

15:00 – 16:00
Image Based Lighting - IBL

IMAGO Technical & Education Committees Panel

David Stump ASC – BVK – MITC – ITC co-chair
Frieder Hochheim KINOFLO founder
Tim Kang ASC Associate Member
Sascha Jazbinsek SUMOLIGHT
Roberto Schaefer ASC, AIC

Lighting an environment to be visually convincing  has always been the prime goal for any cinematographer. In the past, we have used shortcuts like Poor Mans Process, or manually creating shadows, but now with Image-based Lighting (IBL), creating realistic and active subject lighting can be accomplished using video or computer generated assets. Image-Based Lighting (IBL)uses images displayed on LED set lights to produce realistic reflections and ambient lighting in a scene. It gives the cinematographer subtle lighting effects that help make the objects appear as though they naturally belong in an environment.

Sponsored by Sumolight

16:15 – 17:15

The VFX challenge of Comandante

IMAGO Technical & Education Committees Conference

Speaker: David Stump ASC – BVK – MITC – ITC co-chair

An Italian feature film project called Comandante, directed by Edoardo de Angelis, epitomises the paradigm shift in virtual production right now. The film is the true story of a World War II submarine commander, featuring ships and subs at sea and, of course, the ocean.

It can be hard to recognize breakthroughs as they are happening, but there were numerous breakthroughs in VFX during the making of Comandante.

Learning to very accurately undistort and redistort anamorphic lenses in real time was groundbreaking.

Presenting Near Real time meaningful composite shots to the Director on set was another breakthrough.

Preserving metadata through the entire workflow was a breakthrough.

Using AI tools to enable the technique we have dubbed “similar screen compositing” is another.

One breakthrough that cannot be emphasized enough is the positive collaboration of the camera crew, the VFX department, post production and VFX to make a quality film on a budget.

17:30 – 18:30

Shooting 35mm film for virtual Production: WHAT YOU DON’T SEE

IMAGO Technical & Education Committees Conference

Speakers: Stefan Grandinetti BVK, HdM University
Luis Zappe Cinematographer
Sebastian Burk, Director and Virtual Production Supervisor
Samuel Ramm, Director
Tom Keller BVK SCS
Richard Muller Cinematographer
Tim Kang ASC Associate Member

Seminar Room 2

10:00 – 11:00
Lens and the Look

details TBC

11:15 – 12:15

LED Lighting and colour
Details TBC

12:30 – 13:30

“Beyond Belief : Fact or Fiction” - Rebooting a cult classic

Blackmagic Design
SPEAKER: Holger Frick, Superama Film Productions GmbH

Join us for an exclusive behind-the-scenes look at RTL2’s “X-Factor: Das Unfassbare” with Superama co-founder and showrunner Holger Frick. Learn how the boutique production house achieved its creative vision while staying true to the original format. Filmed in Los Angeles and post produced in Munich, discover how DaVinci Resolve and Blackmagic Cloud enabled global collaboration

13:45 – 14:45

Innovative solutions for green film production
Moderator: Birgit Heidsiek, Green Film Shooting

Panelists: tbc

Film productions face the challenge of reducing their carbon footprint. The energy supply used on location often generates a huge percentage of their carbon emissions. Fortunately, film productions can do better. Innovative solutions such as green hydrogen-powered gensets, sodium-based batteries, and solar-powered trailers can make a big difference. And there are more developments in the pipeline. LEDs are very efficient but this is not necessarily the end of the story. Moreover, cutting carbon emissions hinges on planning and preparing an efficient workflow, which green production software makes much easier.

15:00 – 16:00
Unleashing Creativity: The SONY BURANO in Action
Sebastian Leske, Head of Cinema Business Development at SONY Europe
Zhong To: Cinematographer & CineAlta Expert

Join SONY at Euro Cine Expo for an in-depth presentation of the BURANO, their latest innovation in cinematic technology. This session will showcase the capabilities of the BURANO camera through a blend of product insights and first-hand-experience from a professional user. Discover how the cameras advanced features can elevate your filmmaking experience.

16:15 – 17:15

UNIVERSAL TILT & SHIFT & SWING SYSTEM zu Freelensing A New Language In Cinematography
Speaker: Sergio de Uña Jaime. Inventor of the Freelensing Cine and Cameramen AEC / from Spain

UNIVERSAL TILT & SHIFT & SWING SYSTEM that leaves your lens virtually suspended in front of the camera sensor allowing the operator a fast and intuitive movement to control the focal planes and to choose where to have them in the frame. FREE YOUR LENS, FREE YOUR MIND.

17:30 – 18:30

The Art of Cinematography with Dion Beebe
Presented by Band Pro Europe

Dion Beebe, Randy Wedick, CTO – Band Pro Inc.

Dion Beebe is an acclaimed cinematographer known for his exceptional work across various genres and styles. With a career spanning over three decades, Beebe helped create numerous critically acclaimed films, including CHICAGO, MEMOIRS OF A GEISHA, and COLLATERAL, and recently THE LITTLE MERMAID and the upcoming biopic MICHAEL.

His innovative approach to visual storytelling has earned him numerous awards, including an Academy Award for Best Cinematography.

During this seminar, Dion will share his insights and experiences from his illustrious career, providing invaluable knowledge on the art and craft of cinematography.

This is a unique opportunity to learn from one of the industry’s leading figures and gain a deeper understanding of the techniques and creativity that go into making visually stunning films.

Seminar Room 3

10:00 – 11:00


Dedo Weigert – BVK, ACS, RGC, ASC

Introducing and explaining the exceptional properties of the most complete system in
the world of reflected light.

For major drama production our PB70 light provides not only the perfect performance
and illusion of natural light from a far distance – INFINITY LIGHTING – seemingly
eliminating the otherwise unescapable rule of the square law.
This also allows your talent to move with significantly reduced change of brightness,
paired with amazing efficiency and power economy.

Part of the lighting tools: our unprecedented DPBA Parallel Beam Intensifiers which I
have developed for all our 50!!! different focusing lights.

Here, we achieve an increase of light output by 300%, 500%, or even up to 800%, without
changing the exit angle. Sounds like a little miracle.

Our explanations will grant you a look behind the curtain, to get some first understanding how these unbelievable feats can be achieved.

For the smallest team: the potential to light the entire scene with only one light and
eight reflectors – unprecedented advantage in media ecology and economy.

Here you find the maximum in creative choices.
dedolight EFLECT – The ‘Effect-Generator’
Unprecedented effects with the expanded system.

11:30 – 13:15

Find the Right Color: A Camera & Lighting Color Testing Seminar

Tim Kang

This seminar will illustrate how to use “The Four F’s” as a guiding principle for evaluating a camera’s or motion picture workflow’s color rendition. Attendees will learn the reasoning and application of this testing process to develop their own show looks from this source material. Emphasis will be on exploring the intersection between spectrum, objects, and cameras to understand the interplay between physics and perception. This foundation will guide all cinematographers and gaffers on how to evaluate lighting fixtures and troubleshoot difficult color issues on set.

13:45 – 14:45

The new CANON CINEMA EOS C400 - Versatility redefined

Petra Selbertinger – Segment Development Manager Video

Explore the new Canon Cinema EOS C400 with RF mount

With the new Cinema EOS C400, we present the first high-end Cinema EOS camera with the high-quality RF bayonet. It has been developed to the changing requirements of the market and developed with versatility in mind. As an all-in-one solution, it is tailored to a wide range of different productions. Its compact and powerful innovative design concept combines features and specifications normally found in larger cameras. The handy design emphasises ease of use and operability without compromising on performance. Let the new EOS C400 inspire you.

The Canon Segment Development Manager Media Video, Petra Selbertinger, presents the new Cinema EOS C400 and shows how it can be used to achieve better results in film production.

Please note: The date has changed since the printed showguide went to press, where it is listed on Sat 4:15 -5:15 PM

14:45 – 15:45

Presentation of 9 x 7 Pawel Achtel camera

Pawel Achtel, ACS will present the ACHTEL 9×7 Digital Cinema Camera, which was specifically designed for IMAX, giant screen, VFX, immersive and VR cinema productions.

ACHTEL 9×7 Digital Camera is specifically designed for Giant Screen and Immersive Cinema featuring native 4:3 aspect ratio, Global Shutter, High Frame Rates, outstanding colour reproduction, low light performance and extended High Dynamic Range.

The camera uses a 9344 x 7000 sensor (hence the 9×7 brand name) with true correlated double sampling to be able to resolve up to 18,688 x 14,000 (262 Megapixels) resolution making it ideal for films targeting even the largest screens in existence.

16:00 – 17:30

ICLS / ITC - Gaffers & Cinematographers facing the LEDs - The SSI

IMAGO Technical & Education Committees Conference/Panel

Philippe Ros AFC – ITC co-chair & Ville Pentilla, Gaffer & Partner | Angel Films, ICLS

Aleksej Berkovic, Cinematographer, co-chair of the Technical Committee of IMAGO
Eric Chérioux, CST Technical manager (French Higher Technical Commission for Sound and Images)
Marc Galerne, CEO K5600 Lighting Europe
Frieder Hochheim, KINOFLO Founder
Timothy Kang, Cinematographer ASC associate – Aputure Principal Engineer, Imaging Applications
Michael Kelly, Gaffer – President RuPixels, Inc. (by Zoom)
Helmut Prein, ICLS, German gaffer
Rauno Ronkainen, Cinematographer, FSC, Professor in Cinematography, Aalto University | Department of Film

ICLS: International Cinema Lighting Society

Make-up, set design, costumes and, of course, post-production with the colorist, now depend on LEDs. The wrong choice of projectors can seriously affect a production.

More than fifteen years after the arrival of LEDs, this presentation proposes to freely analyze all the consequences of the use of these lighting fixtures and above all to exploit new information: missing or little used data that allow these tools to be judged without the imprecision and approximations of marketing.

Through series of tests, recently carried out in Paris, it clearly shows the qualities and defects of these lighting fixtures in terms of color rendering and skin texture.
Moreover, it is often difficult to know the power of LEDs and, above all, to quickly know their advantages. Simple methodologies, such as highlighting the SSI (Spectral Similarity Index) quality standard, are therefore offered here to help all participants.

Our world has changed, and this conference proposes to understand how the new color spectrum of LEDs modifies our workflow and how they intervene in our subjectivity.
At the end, the gaffers & cinematographers will give a series of tips and advice to help the community cope with the profusion of these tools.

17:45 – 18:45

AMPAS - New ACES 2.0

IMAGO Technical & Education Committees Powerpoint/Panel

Roberto Schaefer ASC – AIC

Alex Forsythe AMPAS & Steve Tobenkin AMPAS by Zoom

Eric Chérioux CST (French Higher Technical Commission for Sound and Images)

Miga Bär NSC Associate Member
AMPAS: Academy of Motion Picture Arts and Sciences – Oscars.org

Saturday 29 June 2024

Seminar Room 1

10:00 – 11:00
1. Choosing colours for better integration of the virtual and physical worlds: utilising personal colour analysis for cinematographers 2. A cognitive approach to cinematography ("The Art of Cinematography: Why Motion Matters in Film")

IMAGO Technical & Education Committees Presentations

In partnership with CITO (Cinematography in Progress) & the IEC (Imago Education Committee).
Yu-Lun Sung Cinematographer, School of Arts and Creative Industries
Tim Kang ASC Associate member
Roberto Schaefer ASC, AIC

Maarten Coëgnarts, Assistant Professor FilmEU, LUCA School of Arts & University of Antwerp

Virtual Production (VP) that focuses on technological advancement and technical design, I argue should be critically appraised from decolonial perspectives. Decolonialisation, involving the democratisation of technological development and the dissemination of information through the internet, has the potential to shift power dynamics, challenge established paradigms, and value neglected cultures. In integrating Personal Colour Analysis (PCA), my research proposes an intercultural dialogue that can enable PCA practice to complement in future endeavours of optimisation in VP workflows, which could build and foster other sociotechnical imaginaries beyond the dominant research and development models for underrepresented groups in film and media industry

11:15 – 12:15

1. Cinematography education & 2. Introduction to the on-line journal: CInemaTOgraphy in progress 15min

IMAGO Technical & Education Committees Conference & Panel

Ella van den Hove SBC, INSAS
Rauno Ronkainen FSC, Aalto University
Stefan Grandinetti BVK, HdM University

Tony Costa AIP, Lusofona University Lisbon
Yu-Lun Sung Cinematographer
School of Arts and Creative Industries UK
Stefan Grandinetti BVK, HdM University

The target of this presentation is to share a pedagogical experience and show some nice examples with an eventual students’ participation.

This pedagogical experience involved a group of 10 students in cinematography just before their graduation. They will be required to choose an excerpt from an existing film soundtrack and create and execute a new visual interpretation. They will facing both technical and artistic responsibilities, directing their teams and actors.

12:30 – 13:30

HDR - what was that again?

IMAGO Technical & Education Committees Panel

Dirk Meier Senior colourist – BVK – CSI
Felix Hüsken Senior colourist BVK – AAC – CSI
Florian Friedrich HDR Expert – CEO FF Pictures

Michael Hackl Content Engineer Dolby

HDR – it came to stay, but where exactly and are there any news about it.
High Dynamic Range was, as many other buzz words before, announced to be the next big thing in media entertainment and also promised TV manufacturers a huge advantage over classic cinema. Almost a decade later we’ll have a quick look at the current status of HDR deployment in Germany and Europe. Who is actually producing HDR content, and who is watching it.

In a small panel of experts from production to distribution we’ll discuss findings from a quick poll within Germany and our personal experiences and opinions.

13:45 – 14:45

Laser projection vs Xenon projection

IMAGO Technical & Education Committees Conference/Panel

Daniel Siragusano FILMLIGHT


Kommer Kleijn SBC

Eric Chérioux CST (French Higher Technical Commission for Sound and Images)
Christian Wieberg-Nielsen Senior colourist FNF
Tom Keller BVK SCS

In recent years, the replacement of xenon projectors by laser projectors has had consequences for colourists, cinematographers and spectators. This conference aims to assess the main differences.

15:00 – 16:00
The AI and the movie community

IMAGO Technical & Education Committees Panel

Moderator: David Stump ASC – BVK – MITC – ITC co-chairSpeakers:
Tom Keller, BVK, SCS
Kommer Kleijn, SBC
Danilo Miranda Cares, Professor Lusófona University and FilmEU
Michael Goi ASC by Zoom

Daniele Siragusano FilmLight
Roberto Schaefer ASC – AIC

Artificial Intelligence is already disrupting the music, film and television industries. What are the drawbacks, and what are the new opportunities for artists and businesses from using generative AI?  Threats to business models and livelihoods loom large.  Can AI be innovative, creative or is it just derivative? What are the capabilities of AI? What are the copyright implications for artists? And how will industry and governments regulate this technology?

Seminar Room 2

11:00 – 12:00

ICLS: Human Connection, Solving Technical Problems

Moderator: Dan Walter, Co-Chair of the Corporate Membership Committee at ICLS (UK)

ICLS Members
Benjamin Erdenberger, (Germany)
Ville Penttila, (Estonia)
Helmut Prein (Germany)
Jakob Ballinger (Austria)

ICLS Corporate Members
Thor Andre, After Sales Support Manager at Astera LED Technology GmbH, Germany
Tim Zur, Managing Director at Sumolight, Germany
Raphael Kiesel, Senior Vice President at ARRI Group, Germany
Stefan Karle, Managing Director & Owner at DoP Choice

We are pleased to invite you to our panel discussion “ICLS community: Advantages in Set Lighting Industry” on 29 June 2024 at Euro Cine Expo in Munich, Germany. We are fortunate to be joined by a mix of individual members and corporate members who contribute significantly to our society. This panel discussion aims to delve into their experiences, contributions, and insights within the ICLS community. We hope to shed light on how being a part of ICLS influences their approach towards lighting design and product development, and what they envision for the future of ICLS.

13:00 – 14:00

Lightbridge Light!talk – In discussion with cinematographer Ula Pontikos

Lightbridge Light!Talk: A discussion with cinematographer Ula Pontikos BSC (Russian doll, 3 women, Film stars don’t die in Liverpool) on crafting cinematic moods with CRLS Precision Reflectors.

Join us for a discussion panel featuring acclaimed cinematographer Ula Pontikos BSC, known for her work in “Russian Doll,” “3 Women,” and “Film Stars Don’t Die in Liverpool.”

Ula will share her extensive knowledge on using the Precision Reflectors, talking about the importance of light and how to create the right mood for every moment. Moderated by Lightbridge founder Jakob Ballinger.

14:15 – 14:45

The new CreatiF centre of the HFF Munich

Details TBC

15:00 – 15:30

HFF showcase: screening of three short films

Details TBC

Seminar Room 3

10:00 – 11:00

Resolution and Image Quality in Immersive Cinema (and Giant Screen)

IMAGO Technical & Education Committees Panel

Pawel Achtel ACS
David Stump ASC – BVK – MITC – ITC co-chair

A discussion on the need of high resolution for immersive cinema, Virtual Production, VFX or Giant Screen with Pawel Achtel, ACS inventor of the 9x 7 camera




12:00 – 13:30

The Creative Triangle: Relationship between Actors, Directors and Cinematographers

IMAGO Technical & Education Committees Panel

Philippe Ros AFC, ITC co-chair & Roberto Schaefer ASC, AIC

Bob Swaim, Director, Scriptwriter, Producer By Zoom
Florian Froschmayer, Director
Laura Birn, Finnish actress By Zoom
Lara Mandoki, German actress
Bojana Andric, SAS, IMAGO Vice-president
Rauno Ronkainen, FSC, Aalto University
Markus Schott, BVK

While the relationship between director and actor is well known, documented and emphasized in most acting schools, the relationship between actors, directors and technicians is barely explored. Actors almost never ask what lens is used on a camera. They rarely know the difference between a wide-angle and a telephoto lens and how this can interact with their own performance.

The panel will explore the relationship between the actor’s field of play and the camera’s field of view involving lenses, movements, eyelines as well as timing and continuity.

For the actors, it is important to understand the technical requirements imposed by the camera.

For the director and the technicians understanding the rhythm and beats (segments) of a scene gives an entirely different approach to making the right decisions, especially for breakdown.

13:45 – 14:45

The many aspects of aspect ratio

IMAGO Technical & Education Committees Conference

Miga Bär NSC associate member
Dirk Meier BVK, CSI

Aspect ratio is oftentimes seen as a technical specification of the productions we make. “It’s for cinema so it has to be 1.85:1 or 2.39:1.” or “It’s for mobile so it has to be 9×16.”

Even though there is truth in these statements, the aspect ratio is an inherently creative decision as well. It’s the canvas of our motion pictures.

In this session we will look at both the creative and the technical aspects of aspect ratio choices. We will look at the history of our many aspect ratio standards, how filmmakers have historically made use of their canvasses and what our possibilities and limitations are with current exhibition formats.

The goal of this session is both to entertain and to provide background information that can help drive meaningful conversations between filmmakers and distributors or broadcasters about the aspect ratio choice.

Speakers include