Explore the Future of Film and TV Production

ECE 2024 SYMPOSIUM

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 Presentations

Speakers:
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 Presentations

Speakers:
David Stump ASC, BVK, ITC co-chair
Patrick Renner POMFORT
Felix Hüsken, Senior Colourist BVK, AAC, CSI

‘’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 Presentations

Speakers:
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 Presentations

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

Frieder Hochheim KINOFLO

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 Presentations

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 Presentations

Speakers: Stefan Grandinetti BVK, HdM University
2 students: Luis Zappe & Sebastian Burk
Tim Kang ASC Associate Member

Seminar Room 2

10:00 – 11:00
Lens and the Look
HFF

details TBC

11:15 – 12:15

LED Lighting and colour
Details TBC

12:30 – 13:30

Blackmagic
Details TBC

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
Sony

16:15 – 17:15

CBM Free Lensing

Details TBC

17:30 – 18:30

Band Pro Europe Oscar winner Dion Beebe

Details TBC

Seminar Room 3

10:00 – 11:00

dedolight LIGHTSTREAM

Speaker:
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.

dedolight LIGHTSTREAM LITE
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.

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

11:14 – 12:45

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

Speaker:
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.

13:30 – 14:30

Lightbridge
Details TBC

14:45 – 15:45

Presentation of 9 x 7 Pawel Achtel camera

Details TBC

16:00 – 17:30

ICLS / ITC - Gaffers & Cinematographers facing up to LEDs

IMAGO Technical & Education Committees Presentations

Moderator:
Philippe Ros AFC – ITC co-chair.

Speakers:
Ville Pentilla ICLS, Finnish Gaffer & Partner | Angel Films, ICLS
Uwe Greiner German Gaffer, ICLS
Helmut Prein German Gaffer, ICLS
Aleksej Berkovic ITC co-chairs
Eric Chérioux CST (French Higher Technical Commission for Sound and Images)
Frieder Hochheim KINOFLO
Tim Kang ASC Associate Member
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 ACES 2.0 (TBC) - by Zoom

IMAGO Technical & Education Committees Presentations

Moderator:
Roberto Schaefer ASC – AIC

Speakers:

Alex Forsythe AMPAS & Steve Tobenkin AMPAS by Zoom

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

Miga Bär NSC Associate Member

Patrick Renner POMFORT
AMPAS: Academy of Motion Picture Arts and Sciences – Oscars.org

Saturday 29 June 2024

Seminar Room 1

10:00 – 11:00
Choosing colours for better integration of the virtual and physical worlds: utilising personal colour analysis for cinematographer

IMAGO Technical & Education Committees Presentations

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

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

Presentation of a pedagogical sequence - INSAS Brussels

IMAGO Technical & Education Committees Presentations

Speakers:
Ella van den Hove SBC, INSAS
Rauno Ronkainen FSC, Aalto University
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 Presentations

Speakers:
Dirk Meier Senior colourist – BVK – CSI
Felix Hüsken Senior colourist BVK – AAC – CSI

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 Presentations

Moderator: 
Daniel Siragusano FILMLIGHT

Speakers:

Kommer Kleijn SBC by Zoom

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
Introduction to the on-line journal: CInemaTOgraphy in progress

IMAGO Technical & Education Committees Presentations

Presented by CITO (Cinematography in Progress)

Speakers:

Tony Costa AIP, CITO
Ella van den Hove SBC, INSAS

Yu-Lun Sung Cinematographer, School of Arts and Creative Industries

Rauno Ronkainen FSC, Aalto University

Stefan Grandinetti BVK, HdM University

Cito is a group of researchers issued from the education committee of IMAGO. We expect to introduce our main activity, the journal, to the audience.

We facilitate and promote research into the different aspects of cinematography, especially its role in narrative fiction film. As the art and craft of cinematography is little understood we want to research the storytelling capacity of moving images, and this to promote visual literacy. In this fast-paced age, the hunger of how to create emotions evoking images -and how it is perceived- is big.

A key objective is to build a bridge between film practice and film studies. The argument for tapping into the knowledge of cinematographers lies in the simple fact that since the existence of cinema, cinematographers, or cameramen as they were first known, were always there. Cinematographers have been there since the inception of the motion picture. Cinematography does not limit itself to techniques but includes the “development of the eye”, film history, the study of art history, optics and established techniques alongside the effects of digital workflows and other more recent developments in the digital domain. We want to investigate the link between the creation, the projection and the perception of visual media and its communication.

Seminar Room 2

10:00 – 11:00

Technology forum: What tools or equipment do you wish from the manufacturers

Details TBC

11:00 – 12:00

ICLS: Human connections, Solving technical problems

In this panel, our panelists will address the advantages and benefits of using ICLS platform and tools in connecting manufacturers and end users.

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

ICLS Members

– Ville Penttila, (Estonia)
– Helmut Prein (Germany)
– Uwe Kuipers (Netherlands)
– Bobert Oberc (Slovenia)
– Benjamin Erdengerger, (Germany)

ICLS Corporate Members

– Jakob Ballinger, Founder at the Lightbridge
– Thor Andre, After Sales Support Manager at Astera LED Technology GmbH
– Tim Zur, Managing Director at Sumolight
– Raphael Kiesel, Senior Vice President at ARRI Group
– Stefan Karle, Managing Director & Owner at DoP Choice

13:45 – 14:15

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 Presentations

Pawel Achtel ACS
Moderator:
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

https://news.samsung.com/global/interview-a-deep-dive-into-8k-underwater-cinematographer-pawel-achtel-on-new-era-of-high-resolution-filmmaking

https://www.newsshooter.com/2020/09/14/achtel-9×7-65-megapixel-motion-picture-camera/

 

12:00 – 13:30

The Creative Triangle: Relationship between Actors, Directors and Cinematographers

IMAGO Technical & Education Committees Presentations

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


Speakers:

Rauno Ronkainen FSC, Aalto University

Bojana Andric SAS – IMAGO Vice president

Laura Birn Finnish actress by Zoom

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 Presentations

Speakers:
Miga Bär NSC associate member
Dirk Meier BVK, CSI
David Stump ASC, BVK, ITC co-chair
Stefan Grandinetti BVK, HdM University
Eric Chérioux CST

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.

15:00 – 16:30

The AI and the movie community

IMAGO Technical & Education Committees Presentations

Speakers:

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

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?

15:00 – 16:30

Disruptions ahead: The impact of AI on film and cinematography - what questions do we have to face

Details TBC

seminars