The BSC Panels & Seminars
The BSC Expo includes a packed two day programme of free to attend seminars and discussion panels.
Off Site Seminar
Friday 24th February
I Came By HDR capture, Dolby Vision Grade for Netflix
Kit Fraser – DOP
Alix Milan – DIT
Dan Moran Colorist
Michael Crusz DI Editor
Watch and hear from the panelist’s how HDR was used for the capture and post production of this Netflix movie. Clips will be displayed in HDR at the Dolby Cinema in Battersea.
Friday 24th February
Camera to Grade with Blackmagic Design
Simon Hall, Senior Technical Sales Specialist for Blackmagic Design EMEA will take you through Blackmagic Design’s camera to grade workflow, exploring how you can easily edit and colour grade images from Blackmagic Design’s revolutionary URSA Mini Pro 12K camera using Blackmagic RAW and DaVinci Resolve
Mo-Sys Engineering Ltd
New Ways to Get More out of Virtual Production
Mo-Sys is introducing a method to get more out of Virtual Production, making the benefits of it accessible to more productions.
Advice to my Younger Self: Things I Wish I Knew Earlier in my DP Career
Kate Reid BSC
Rina Yang BSC
Si Bell BSC
Stephan Phersson BSC
Erik Alexander Wilson BSC
A frank discussion about the practical realities of being a cinematographer beyond film school or shooting short films; such as working at large scale, people management, long term collaborations, the work life balance and all the other things we wish we’d known earlier in our careers.
ARRI Solutions: Diving Deeper into Virtual Production
Phil Rhodes, industry journalist and contributor
Colm Nicell, ARRI Solutions
James Medcraft DP
Dale Elena McCready BSC NZCS
Will Case, Creative Technology
Stacia Pfeiffer, freelance VP supervisor
As virtual production becomes a more established industry technique, ARRI Solutions brings together a group of experienced DPs and virtual production specialists to discuss how production planning, volume design and onset workflows are evolving to support creative teams’ visions for their productions at the highest level.
DFD: The Art of Achieving Authentic Celluloid Film Looks for Digital Productions
Moderator: Ron Prince, Editor – Cinematography World
Erik Alexander Wilson BSC, Cinematographer
Adrian Bull, CEO – Cinelab Film & Digital
Joshua Callis-Smith, CTO – Cinelab Film & Digital
Cinelab Film & Digital present an overview of their Digital-Film-Digital (DFD) service and the benefits of utilising an analogue intermediate process. Where digitally acquired footage is transferred on to celluloid film. Then processed and scanned back to digital with an authentic film look applied to the source footage. This technique adds real film grain and texture to the digital image.
DFD can be utilised for several purposes, including applying an authentic film look to digitally acquired footage, bedding in VFX shots to make them look more realistic, and
unifying the look of multiple digital, film, or hybrid shot footage. In can be used to authentically produce the grain size and look of full frame 35mm, 16mm, or super 8mm. Learn about more about the DFD process and its applications across commercials, music videos, longform and features.
Behind the Look of Frozen Planet II: A Panel Discussion with the Visionary Filmmakers
Join us for an enlightening and captivating panel discussion with Natural History producer Mandi Stark and some of the talented filmmakers behind the BBC series ‘Frozen Planet II’.
Discover the untold stories and challenges that these filmmakers faced while capturing the breathtaking footage of the Arctic and Antarctic regions. Get an insider’s perspective on the creative process, the latest technology used and the incredible teamwork that brought this stunning series to life.
Whether you’re a filmmaker, a fan of nature documentaries, or just someone who loves exploring the world, this panel discussion is not to be missed!
Prof: Michael Erkelenz, Managing Director of bebob factory
Explanation of the new B-Mount system, the reasons for developing it and its main benefits for filmmakers, camera teams and rentals.
Saturday 25th February
Interactive Lighting for Virtual Production & Beyond
Zoe Mutter – Editor, British Cinematographer Magazine
Balazs Bolygo, BSC HSC, David Procter BSC,
Sacha Jazbinsek (CPO Innovations & Mechanical Design – SUMOLIGHT)
Julian White, Chief Lighting Technician,
Christina Nowak (Director of Virtual Production, Anna Valley)
Use of LED volumes, interactive LED lighting systems and how to handle lighting when shooting against an LED volume, especially in low light conditions or at night. Learning about image-based lighting, a new frontier in virtual production, and how to use tools to create additional reflections and interactive lighting effects. Importance of careful positioning of practical and movie lighting to avoid washing out the image or creating reflections on the LED screens. This panel is developed to deliver the knowledge to create professional-quality lighting in a virtual production environment.
TV Drama: In Practice
Stephen Murphy BSC ISC
Gavin Finney BSC (Good Omens, The Undeclared War)
Ed Moore BSC (Hijack, Somewhere Boy), Catherine Goldschmidt (House of the Dragon, A Discovery of Witches)
Vanessa Whyte (Ted Lasso, All Creatures Great and Small)
Simona Susnea (Heart Stopper, Audry)
The “TV Drama: In Practice” panel will be a casual and frank conversation with 6 Cinematographers about working in what many perceive as a golden age of TV Drama Cinematography. Topics to be discussed will include “Breaking into TV drama”, “Shooting Block 1 vs Shooting a later Block”, “Bringing your taste to later seasons of an established show”, “Choosing the right crew for Block 1 + Inheriting a crew for later Blocks”, “Managing your time on set + How fast you need to work”, “Collaborating with The Director vs Collaborating with The Showrunner”, “Ambition, Managing expectations and The TV Drama Schedule” and hopefully a lot more.
Each of the Cinematographers is at a different place in their Drama career so the panel should provide an interesting discussion from many points of view.
Lensing Banshees: Behind the Scenes with Ben Davis BSC
Zoe Mutter – editor, British Cinematographer Magazine
Ben Davis BSC
A must-see session with Ben Davis BSC in conversation with Zoe Mutter, Editor of British Cinematographer magazine, discussing his creative choices in shooting The Banshees of Inisherin. This session is an ideal opportunity to hear and ask how Ben approaches a new project
The Power of the Image – the importance of How and Why we Choose our Images?
Moderator: John de Borman BSC AFC
Ellen Kuras ASC Cinematographer/Director
Rob Hardy ASC BSC Cinematographer
Daniel Landin BSC
We will talk about the artistry of discovering and creating images; how we make images that evoke emotion; and how sometimes what is excluded from a frame but implied is much more powerful. We will investigate how cinematographers find three dimensions in a 2D image, and we will talk about the work of Terence Malick who is a master of this, through the very experienced eyes of our panel.
Ellen Kuras ASC
American Cinematographer and Director who has just finished shooting LEE… a biographical film about the photographer Lee Miller. Ellen was the first woman to win the ASC (American Society of Cinematographers) “Lifetime Achievement Award” (2022). She has photographed the work of Terence Malick, Martin Scorcese, Spike Lee, Michel Gondry, Bob Dylan and Nan Golding among others. She was nominated for an Oscar for her Directorial debut, ‘Betrayal’.
Rob Hardy ASC BSC
A British cinematographer that is a true artist, who chooses his images with great care and precision. His images are always very beautiful and his creative choices eclectic. Rob photographed “Red Riding: 1974” and “Devs” for television and films as diverse as “Boy A”, “Ex Machina”, “Annihilation”, “Mission Impossible:Fallout” and most recently Alex Garland’s “Men”.
Daniel Landin BSC
A cinematographer that is also an artist that refuses to accept films unless he believes in them in story or emotion . UNDER THE SKIN (Directed by Johnathan Glazer) was an extraordinary example of a film where his images have true resonance and stay with you well after . His technique in capturing the story was unique and we will investigate his process. We will investigate his other films like RAY AND LIZ ( dir Richard Bellingham ) that has a documentary style but isn’t and his Vietnam film YELLOW BIRDS ( Dir Alexandre Moors )
This fabulous panel will make us think about the fundamentals of what we do.