Canon upgrades firmware for 4K

Canon is introducing several firmware upgrades for its EOS C500 and EOS C300  cameras, DP-V3010 4K reference display and its Cinema Raw Development software, mainly aimed at improved 4K performance, particularly support for the new BT.2020 colour space, although the C300 (and C500) will also get simpler colour temperature setting. 

All will be on show at IBC in Amsterdam (12-16 September), where Canon will also have lots of presentations by filmmakers - read the full story on our Canon XF Notebook site.

IBC 2013

Yes, It's September - it must be IBC.



There should be some new and interesting bits of kit at the exhibition.

Ronin on the rack

Ninja 2, Canon C500 and Samurai

We're used to seeing Atomos Ninja and Samurai units attached to cameras, but it has now launched a version of the popular field recorders for the studio and OB market with a new rack-mountable version. 

The Ronin can switch between battery, mains and DC (D-tap) power, giving it “triple redundancy, which is perfect for OBs,” said Atomos CEO, Jeromy Young.

Battery, mains and D-tap power

Two can fit in a rack, but it also has flip-up feet for desktop use, and can run just off batteries for portable use. The units have dual XLR audio i/o, serial interface for deck control (and can also be triggered from cameras and switchers), and will record ProRes or DNxHD. A unit will cost $2,195 (about €1,650), but the Ronin Duo (with two units in a rack mount will be $3,995 (about €3,000). It can also offer HDMI i/o if used with Atomos’ Connect convertor products and should ship in the New Year.

Atomos CEO, Jeromy Young with his Samurai portrait.

Also on show is a prototype: the Recordinator, another rack-mountable unit built for a customer who does chat shows and wanted a recording system that the director could easily start/stop – via large, friendly buttons. It can have quad recording (with mirroring or ISO feeds) and works with Samurai or Ronin units, which can be used to add metadata to the recordings.

Arri Alexa offers film look for studio

The Arri Alexa and Milan Krsljanin

The Arri Alexa has become the camera of choice for high-end drama and music videos. The music industry spends millions making their music videos look great. So, wouldn't it be a good idea if that "look" carried on into music-based TV programmes.

Well someone suggested that to Arri, which has developed the new Alexa Fibre Remote Box and a software upgrade that allows users to control the film-like parameters of the camera from a broadcast control panel. It is aimed at those customers “doing high-profile music shows who wanted to have a filmic look,” said Arri’s Director of Business Development, Milan Krsljanin here at IBC.

“This is not a camera for sports. It’s for programmes that want to reach new heights in terms of quality and the look,” he added. The camera can be used with PL-mount lenses or, via an adapter, B4 broadcast lenses (although you lose two stops – “but with the huge sensitivity of this camera it is not an issue”). Indeed, its sensitivity and dynamic range was why four fibre-equipped Alexas were used on a Coldplay concert in Paris just before IBC, intercut with conventional cameras – to avoid burnout on the faces in difficult lighting.

It uses a Telecast Copperhead system for fibre output, and the Alexa and Fibre Remote Box combination costs just €40,000 (which is price competitive for a studio/OB-type camera, but this doesn't include the Alexa SxS recording module, although that can be added later). The Box itself costs €10,000 (plus the Telecast system) if you already have an Alexa.

IBC 2012

Bicycles - lots of them...

Flowers

Did I mention the bicycles?

Yes we're in Amsterdam

for IBC 2012

Trouble is....it is still a bit of a mess 

boxes still need to be unpacked

shiny things need to be put in the right place

up a bit on the left...bit more

and someone needs to tidy up

that's more like it

crikey - who made that mess!

These guys really need to get a move on

looks like there are some new guys...

...with interesting names

OK - Beer for anyone who is ready first

 The IBC 2012 exhibition starts Friday 7th September at 10.30. We are here and ready to bring you best bits of kit. Hopefully the exhibitors will all be ready on time.

CPUG Amsterdam SuperMeet at IBC

The Creative Pro User Group Network will be holding its Fifth Annual Amsterdam CPUG SuperMeet to coincide with IBC (the International Broadcasting Convention – Europe’s biggest broadcast conference and exhibition). 

There will be lots of presentations and demonstrations, including sneak peeks, and the seemingly endless raffle with more than €31,000-worth of production and post-production kit to be won.

As usual, it promises to be the biggest meet-up of Final Cut, Adobe, Avid and Autodesk editors and independent filmmakers during IBC. Food will be included and there is lots of opportunity to network.

It is being held in the Grand Hotel Krasnapolsky on Dam Square. Doors open at 4:30pm with showcase of more than 20 software and hardware developers, such as: Adobe, Autodesk, Avid, Blackmagic Design, Red Giant Software, Atomos, Axle Video, B&H, Amsterdam's College Of Multimedia, Drobo, The Future Store, G-Technology, Mocha, Noise Industries, The Padcaster, pond5, Promise Technologies, Shutterstock, Sonnet Tech and X2Pro (many of whom are donating raffle prizes).

SuperMeet presentations begin at 7pm, and will include (not necessarily in this order):

The award-winning cinematographer John Brawley, who was the first to get his hands on the new Blackmagic Cinema Camera, will show what it can do and talk about how it works and his post workflow using Blackmagic Design’s new DaVinci Resolve 9.

Michael Cioni, CEO of Hollywood post facility Light Iron Digital will lead a discussion about how the changing media ecosystem is changing filmmaking, and talk about new workflow and creative opportunities. One of Light Iron’s specialities is on-site dailies, and it has created a couple of iPad apps: Live Play – an automated digital playback and on-set collaboration tool; and Todailies (below) – which gives directors, cinematographers, script supervisors, and key production personnel the ability to take home and review camera takes or pre-visualizations.

Ken La Rue and Marc-André Ferguson, from Autodesk, will run through the all-in-one workflow of the new Smoke, including dealing with green screen, keying, tracking, colour correction and editing. The Smoke 2013 pre-release trial will be available until December and can be downloaded at: www.autodesk.com/smoke-trial.

Adobe’s Al Mooney will give an update on Premiere Pro CS6, and share a peek at “some very exciting future technology”.

Avid’s Adam Green will be revealing Avid news from IBC, while Filmlight's Martin Tlaskal will show off Media Composer’s AVX2 plug-in architecture with the latest Baselight for Avid plug-in.

Freelance trainer/author, Simon Walker will demonstrate three new releases from Red Giant Software: Trapcode Mir, PluralEyes and Knoll Light Factory, the light effects tool developed by ILM Visual Effects Supervisor John Knoll. Webby Award-winner Seth Worley (who made the brilliant Plot Device) has directed another excellent short film, Order Up, to show off what Knoll Light Factory 3 can do.

There are also likely to be other speakers, including independent film makers/editors.

Tickets cost €15 each online (€20 on the door), or €10 for students and teachers. But, you can save €5 off the ticket price by using the promotional code ibcvip when registering.

Also of interest during IBC will be DSLR Meetup 2012 Amsterdam with Philip Bloom on Saturday, September 8th at 8pm, at Café ‘De Pont’ behind Central Station (and a short trip on a free ferry). The theme of the evening is time lapse.

By David Fox

UKFCUG Glasgow meeting Thursday

The UK Final Cut Users' Group is holding its first ever meeting in Scotland this Thursday (22 September), with an interesting looking line up.

Doors open 6.30pm, and the first presentation starts at 7pm, with How To Edit with FCPX by Rick Young (pictured top), who will reveal what it is good for, how it works, and how to integrate FCPX into your current workflow.

After a half-hour break, at 8.30, Andy Bellamy from AJA will introduce its latest products, including the new Io XT - the first dual Thunderbolt port I/O device.

At 8.55, Alastair Brown, who created the Glidetrack, will show how these tripod mounted dollies for DSLR and video cameras evolved, and what it enables users to do.

At 9.20: After editing for a decade in FCP, what's it like to switch to Adobe Premiere Pro? Producer/director, Matt Davis (pictured) is making the transition from FCP7 to PPro 5.5. What were the advantages? What were the pitfalls? What were the surprises?

9.45 - 10.30pm - IBC overview: HD Warrior, Philip Johnston, and MacVideoTV's Rick Young will look at what was new at IBC 2011, including: the new JVC GY-HM150; AJA offering DNxHD recording for the Ki Pro Mini; new Thunderbolt devices; Sony's SR memory and 100GB optical discs; Mike Tapas adapter for manual control of EOS lenses on large sensor DSLRs; and more….

It will be in the Thistle Hotel, Cambridge Street, Glasgow, G2 3HN, and entry costs £5. Click here to register for the UKFCUG Glasgow meeting. Seating is limited.

By David Fox

New generation Ianiro LED lights

Ianiro is showing prototype Fresnel-lens LED lights at IBC using newly developed LED arrays.

Its new 180W device compares well against its similar-size Solaris tungsten 1kW. The prototype uses three Ianiro custom assemblies: Solaris LED C (cool white), Solaris LED W (warm white) and Solaris LED WT (tunable white), which it combines to give a more accurate light.

Ianiro has been cautious about adopting LED technology, believing it "has been the victim of inflated expectations" and sees its potential as only just starting to be realised.

LEDs can overheat if driven beyond the manufacturers’ recommended limits, affecting colour temperature and reducing both output and durability. Many LEDs can now be powered up to 3A (compared with earlier 350mAh and 700mAh units), but most are powered at 1A/1.5A, for greater stability. To balance performance and efficiency, Ianiro's prototype does not push drive current to the maximum.

As multi-diode assemblies, LEDs can suffer from shadowing, depending on distance from subject and placement of individual LEDs. To counter this, mono-chip arrays, with LEDs mounted closer together, reduce shadow fragmentation and improve uniformity and control. Improvements in lenses and hoods to limit shadows allow switching from Par-type lights (multi-LEDs with small lenses of different angles) or simple Panel units, to true single-front-lens projectors that allow for changing the angle from spot to flood.

LED assemblies are also becoming available with better CRI characteristics, suited to TV and film, but at high colour rendering, less light is produced so there is still a compromise between quality and output.

Ianiro will market test its early models before final technical data is announced and the final ergonomic designs released.

By David Fox

FCPUG IBC SuperMeet on Sunday

The Fourth Annual Final Cut Pro User Group Amsterdam SuperMeet takes place next Sunday (11 September), to coincide with IBC. It will be at the Grand Hotel Krasnapolsky in Dam Square, with talks and demonstrations from filmmakers, colourists, and editors. 

Speakers include: Michael Wohl, one of the creators of the original Final Cut Pro and an authority on Final Cut Pro X, which he will demonstrate; Adobe's Jason Levine (pictured above at a previous SuperMeet) talking about Adobe Premiere Pro 5.5 for FCP editors; film editor Eddie Hamilton describing the workflow on X-Men: First Class and Kick-Ass, using Avid Media composer; and Autodesk's Jim Geduldick with the latest on Smoke on Mac OS X.

London-based colourist, Dado Valentic, who graded BAFTA winner Flying with Monsters, and the world’s first 3D opera Carmen in 3D, as well as 3D commercials for Panasonic, Red Bull and Nintendo, will discuss his workflow using the latest DaVinci Resolve 8, from Blackmagic Design. He will talk particularly about his work on fashion promos for the likes of Christian Dior and Zara. "The SuperMeet events are always really exciting and it will be great to show how I’ve used Resolve 8 to grade my latest projects," said Valentic.

DSLR Guru, Philip Bloom (pictured above at a previous SuperMeet), will show his best creations from a year that has seen him work for George Lucas, and shoot with many of the most talked about cameras, such as Panasonic's AF101, the Sony PMW-F3 and Red's Epic. Bloom will also be holding an Amsterdam DSLR Meetup, on Saturday (10 September), at 19:00, to talk about filmmaking, DSLRs, and anything else that comes up. RSVP at his Facebook Meetup Event Page. 

Tickets cost €15 online, or €20 at the door – if they are still available. SuperMeets have always sold out.

Doors open at 16:30 with an exhibition of more than 20 software and hardware developers, plus free food, and there will also be the traditional World Famous Raffle, with more than €37,000 worth of prizes from Blackmagic Design, AJA, Atomos, Adobe, Avid, nVidia, Zacuto, Red Giant Software, Telestream, Maxon, Artbeats, Boris FX, Glyph Technology, MotionVFX, Noise Industries, Imagineer Systems, Tiffen, and others.

By David Fox

Panasonic AF100 / AF101 - the movie

We did a long interview with Panasonic US product manager, Jan Crittenden Livingston at IBC about the new AG-AF101 (AG-AF100 in the US), which should be available late December and will cost 4,900 Euros (list). She does a great job explaining a camera that is only 70-75% complete - although the few pictures we've seen from it look very nice. 



Related posts: Panasonic's HD DSLR killer + New Panasonic AF100/AF101(updated)

Panasonic's HD DSLR killer

Given the interest being shown in the AG-AF100 / AF101 - here is a copy of a piece I wrote for the IBC Daily - we'll add more, including a lengthy video, once we're home (and recovered):

One of the most eagerly anticipated introductions of IBC was Panasonic's new AG-AF101, which puts a DSLR-sized sensor in a professional camcorder, to offer shallow depth of field without the picture problems that stills cameras have in video mode.

It has shown the first pictures shot using the camera, including material shot by the producer/author, Barry Green, of dvxuser.com, who tested it on the sorts of repeating patterns (like brick walls and roof tiles) that cause DSLRs to exhibit aliasing and moiré patterns. On the AF101, these weren't evident, even on a big screen.

"It is made for video, and it gives this shallow depth of field that people are looking for, for artistic film making," said Jerome Berrard, director AV Systems, Panasonic Europe (pictured).

The camera will have all the video functions camcorder users expect, such as peaking, variable frame rates and HD-SDI output, with the added advantage of being able to take almost any 35mm lens (including those for Canon and Nikon cameras via adapters). It will cost €4,900 when it starts shipping in late December.

Panasonic is showing 15 new products at IBC, including its 3D camcorder, the AG-3DA1, which already has more than 800 pre-orders worldwide, with more than 150 in Europe. Projects the cameras will be used for include coverage of Milan fashion shows and the production of 3D Blue-ray tours of cities like Venice.

Have a look at the video we did at IBC about the AF100/AF101 - Panasonic AF100 / AF101 - the movie

By David Fox

IBC Free Training (updated)

We started our free training at IBC when the exhibition opened on Friday afternoon, and had lots of people come along (we tried to cater for everyone, even on the small workshops - although there weren't seats for everyone - but there was plenty of room in the seminars).

If you want to find out about all the sessions available you'll find a full list at the IBC site.

We are in the Production Village in Hall 11 - beside IBC TV News and the Panasonic stand. There's also free post-production training in Hall 7.

All my DSLR workshops are booked out - so, if you wanted a place the next best thing is my talk on Getting the Best From Your Camera.  I'll be running that one again on Sunday and Tuesday - as these are seminars, there is a lot more space. The Production On A Budget session (Saturday, Monday and Tuesday) will be of use to anyone considering buying a camera (especially if you are wondering whether to get a DSLR or conventional camcorder)

I'm looking forward to going along to some of the other sessions. Alan Roberts' talks are always interesting. He's doing one called How It Works: Things We Forgot We Knew. Hopefully he'll remind me of stuff I do know - but knowing Alan we'll all learn a lot of new stuff we didn't know - but now do. Must remember to take note so I don't forget it all again ;-)

There'll also be a chance to get hands-on with some 3D kit. Just in case 3D isn't a fad - maybe I should get along to that one too - except that being workshops, they're also fully booked, luckily there are a couple of 3D seminars too.

Just beside our training area we have the camera shoot out area, where you'll be able to test and compare a lot of cameras side by side (on the same monitors in the same shooting conditions). This was the list as of 20 August.

By Christina Fox

New Panasonic AF100/AF101(updated)

At IBC Panasonic is showing engineering samples of its new AF101 Micro Four Thirds-based camcorder (aka the AF100 in the US).

What's the big deal? Well, it is the DSLR spoiler.... and this is the first time we've seen it as a working model, we were told that the anti-aliasing technology they are developing to give it a significant edge over HD DSLRs isn't finished yet, so any opinions you might see about the pictures won't be the final word. Street price is likely to be under £4,000, so it should attract a lot of interest.

It is quite a boxy shape. Definitely not like a DSLR or the Sony Handycam NEX-VG10, but should fit into DSLR rigs or work like a conventional camcorder.


[UPDATE: Now we've had a chance to see the pictures it can produce, we're even more impressed. Someone from Panasonic in Germany shot a performance/theatre piece, with lots of nice shallow depth of field, and not a lot to trouble the codec. But, the pictures looked very filmic, there was no video harshness, the colours appeared to be very accurate. It was restrained, not flat, but not in your face. More interestingly, they'd given the camera to the ebullient Barry Green, of www.dvxuser.com, who had tried it on some of the pictures that normally cause aliasing on DSLRs, repeating patterns such as roof tiles and brickwork, and we didn't notice any aliasing at all - and on a big screen we would have. Although recording 24Mbps AVCHD does involve a lot of compression, the pictures stood up very well. Certainly, with the advantage of the AF101's HD-SDI output, being able to record to the Convergent Design nanoFlash, AJA's new Ki Pro Mini or Panasonic's own external AVC-I recorders, means that the codec choice shouldn't be a worry - just that you'll have to spend more on the extra recorder.]

[UPDATE AGAIN: We now have video - Panasonic AF100 / AF101 - the movie]

[FURTHER UPDATE: The new AF100A/AF101A can record up to 28Mbps internally and output 10-bit 4:2:2 via HD-SDI to an external recorder]

Key Specifications:

• Micro 4/3-inch camcorder MOS sensor
• Full 1080/720 - 60i, 50i, 30p 25p 24p
• AVCHD 24Mbps
• Variable frame rates
• 2 XLR inputs with phantom power
• SD cards
• Shipping end of 2010

Panasonic were still building the stand so, they didn't have a lot of time to talk. Plus, apologies for the dark pictures but the stand wasn't lit. Hopefully during the show I'll get a chance to get a few well lit shots and some hands-on time with the camera.

We've previously written about the Panasonic AF100/AF101.  Plus, it has its own Panasonic micro site .

By Christina Fox

Canon XF100/XF105 camcorders

Canon has extended its XF range of professional camcorders with two new palm-sized cameras, the XF100 and XF105 – the smallest cameras ever to include broadcast quality MPEG-2 Full HD 50Mbps, 4:2:2 recording.

They share many of the features of the existing XF305 and XF300 camcorders, but in a smaller package.

"A broadcast-standard MPEG-2 codec in such a compact body makes these new products unique, and will offer a level of HD image quality that was previously out of the reach of many users. The XF105 and XF100 will combine with XF305, XF300 and EOS DSLR cameras to offer a comprehensive range of Canon HD video tools for all sorts of applications," said Terunori Tajiri, EMEA Video Product Manager, Canon Europe.

Both cameras have professional features, such as XLR audio input (16-bit linear PCM at 48 kHz), while the XF105 (tech specs here) has HD-SDI output, with a shared Timecode input/output and Genlock input (pictured left), so that it can be used in studio or for multi-camera shoots (or record to a nanoFlash).

They record 1080/50i, 1080/25p, 720/50p or 720/25p MXF files to Compact Flash memory cards, using either Relay Recording or the security of Double Slot Recording (to two separate CF cards simultaneously). During recording, a card that’s not in use can be exchanged or initialised. There is also an SD card slot for stills and user settings.

The cameras have a new 10x zoom, 30.4mm wide angle Canon HD f/1.8 lens, with an eight-blade metal diaphragm, Optical Image Stabilizer, and an increased number of moveable lens groups to help reduce chromatic aberration and the overall size of the lens.

They use a single new 1/3-inch, 2.07 Megapixel Canon1920x1080 CMOS sensor, adapted from the 3CMOS sensor system employed in XF300-series models with high-speed data readout to minimise rolling-shutter skew.

Variable frame rate recording (12-50fps in 720p or 12-25fps in 1080p), Interval Recording (time lapse) and Frame Recording (for stop-motion animation) are included, as is a three-second Pre Record (cache) option.

For nighttime use, there is an Infrared shooting mode and built-in IR lamp (with both green and white light shooting options available), which will appeal to users of Sony's HVR-A1.

For 3D use, there are two 3D Shooting Assist functions: OIS Axis Shift uses the lens-shift image stabilizer to help correctly align two connected camcorders during stereoscopic 3D recording, while a Focal Length Guide helps to precisely synchronise zoom adjustments.

There are manual controls for experienced users, plus automatic and assist functions for beginners. A manual lens ring is switchable between focus, zoom and iris, and various settings, including iris, can also be adjusted using a custom key and control dial combination.

A dedicated button enables switching between manual focus and autofocus. There is also Face Detection AF and unique Instant AF modes, plus a new Face-Only AF mode, which limits autofocusing to detected faces only and is particularly useful for self shooters.

Both have a 3.5-inch side-mounted LCD screen with 920k dot resolution, a built-in waveform monitor and Edge Focus function, with menu selection performed using a joystick interface. There is also a 260k dot electronic viewfinder with 100% field-of-view coverage.

Users can configure more than 90 individual, image-related variables using a Custom Picture function; including selecting one of six preset gamma curves. Operators can also assign one of 34 individual functions to ten customisable buttons.

Up to nine ‘customised pictures’ can be stored to each body, with CINE.V and CINE.F gamma settings among three presets supplied as standard. Preferred settings can be saved and transferred from one XF100-series camcorder to another via SDHC cards.

The cameras will be on show on the Canon stand (11.E50) at IBC in Amsterdam next week (10-14 September).

www.canon-europe.com

Related posts: What makes an HD camera? and Canon fires out first 4:2:2 file-based camcorders

By David Fox

WiFi control comes to studio lighting

Photon Beard has developed a new, low-cost wireless control system for studio lighting that promises to simplify set up.

The new Wi-Light will be launched at IBC and promises to reduce, or in some cases eliminate, the need for traditional wired DMX-controlled systems, which are time consuming and messy because of multiple cable requirements for each luminaire.

"Wi-Light does away with the need for in/out DMX leads making installation very quick and easy - simply hang the light and apply power, link it to the wireless network and it is ready to use," explained Peter Daffarn, Photon Beard's MD.

Despite the ubiquity of wireless devices in other applications, the lighting industry continues to use multiple, wired data links to carry the universal DMX512 stage lighting and effects control standard. "This is suitable for conventional incandescent lighting, but many of the new generation of efficient, low-heat lighting fixtures work best with a direct, wireless control connection."

Wi-Light is primarily designed as an add-on to Photon Beard's DMX-controlled series of Highlight fluorescents, but it can also be used to control a mixture of fluorescent and incandescent lighting systems.

Wi-Light rear view

It consists of one master transmit/receive module, which can be located at studio floor level; and individual receive modules or dongles added to each light source or dimmer. The master unit can also be configured as a receiver for point-to-point links or as a repeater to cover wider areas. Transmitter range varies but is typically up to about 100m, which is adequate in most installations and can be extended using repeaters.

The small receiver module or dongle fits to the base panel of a Highlight, on the outside of the casing. The master unit takes a conventional DMX512 data stream from a standard control desk. An assignable block of channels are selected from the input stream and transmitted via wireless. The original address positions of each channel in the block are preserved, which means users can set the receive address on each light source in the usual way.

However, the basic DMX512 standard sends data continuously, even when nothing changes, and this is extremely wasteful in a wireless system, so the Wi-Light transmits only the changes – using a special protocol designed to make best use of wireless control in a lighting application. All parts of the Wi-Light system are bi-directional, so that the master can pull information from a receiver.

Each Wi-Light has a unique identity that is added to all transmissions. To close the network and eliminate interference, each receiver can be remotely set to respond to only one transmitter. It also includes error checking, which is not part of the DMX512 standard. Its 2.4gHz operation and compliance with FCC regulations mean that it can be installed worldwide, including the USA.

This is intended to be the first of a family of products that will be added to the Photon Beard range to provide cost effective and easy-to-install control options for small- to medium-sized TV studios.

By David Fox

IBC SuperMeet showcase for editors

Apple-based video editors visiting IBC can network, find out about the latest technology, win stuff, and have a pretty good night out at the FCPUG SuperMeet.

The Third Annual Final Cut Pro User Group Amsterdam SuperMeet takes place on Sunday, 12 September at the Grand Hotel Krasnapolsky in Dam Square, and promises to be "the single largest gathering of Final Cut Pro, Avid and Adobe users, gurus and digital filmmakers in Europe during 2010."

There will be user-driven presentations, including show and tells from European filmmakers, new ideas and product demonstrations, Final Cut Studio tips and tricks, and the seemingly endless raffle with lots of prizes.

"The hotel's not only easy to get to, but it's a beautiful venue to visit and network. And SuperMeets are all about networking," said Michael Horton (pictured above), SuperMeet co-producer and head of the Los Angeles Final Cut Pro User Group (www.lafcpug.org).

New this year is the Open Screen Theatre, giving filmmakers and digital content creators a ten-minute chance to show what they can do. It is open to anyone shooting with DSLRs, camcorders, iPhones, or anything that makes video, to screen their content and interact with the audience. Sign-ups begin at 16:30, when the doors open, and are open only to ticket holders. Content must be on DVD or a QuickTime movie.

Tickets are on sale online only for the early bird price of €10 for adults and €7 for students until August 12. After that the price goes up to €15 and €10 respectively.

Doors open at 16:30 pm with an FCP Digital Showcase with 20-plus exhibitors. Presentations begin at 19:00 and continue until 23:30.

By David Fox

Free training at IBC extended

IBC is adding 3D and Workflow training to its free offering in the Production Village at this year's exhibition in Amsterdam (10-14 September 2010).

It will run more than 50 sessions, catering for everyone from beginners to advanced, and hopes to build on the success of its first year, when more than 1,200 visitors took part.

"We got fantastic response last year and excellent feedback," said producer, David Dawson-Pick, director, DDP Enterprises. "Scores for sessions tended to be between four or five out of five."

For IBC2010, the Production Village has moved from Hall 10 to Hall 11, the main hall for acquisition-related products, and its seminar area will now have seating for up to 80 people (up from last year). There will also be small group sessions (for six to eight people) offering hands-on training, as well as bookable 20-minute one-to-one sessions with the trainers.

The 3D training is being delivered by the DoP/stereographer, Kommer Kleijn, and consultant, Peter Wilson (formerly of Sony and Snell + Wilcox).

Pasquale Tropea, a DoP and workflow consultant with Support Partners, will be conducting sessions on Workflow, for pre-production and on set. "It's the capture end that is crucial as far as these sessions are concerned," explained Dawson-Pick. Topics will include storage, redundant backup, and preparing for post.

Lighting cameraman, Jonathan Harrison, is expanding his lighting sessions with one on how to do location pack shots (lighting small objects on location and impromptu rostrum work), while our own training specialist, Christina Fox, UrbanFox.tv, will focus on beginners and self-shooters, including shooting on a budget, interview techniques, and HD DSLRs.

Alan Roberts, consultant, will be expanding his sessions on colour science to look at how to apply fundamental lessons to digital production and 3D.

A training-related section is up the www.ibc.org web site, where visitors can book training, get follow up notes and watch videos.

Related post: Free training at IBC...

By David Fox

Free training at IBC...

Visitors to IBC will be able to get free camera, lighting and general production and post-production training (including seminars, small group sessions and 15-minute one-to-one opportunities from the UrbanFox). IBC has been running limited post-production training for several years, but the rest is new.... The interesting sessions take place in IBC's new Production Village (in Hall 9 - where Sony used to be). It will offer a seriously packed schedule of free, independent training sessions from some of the best in the business, as well as manufacturer-led sessions and the opportunity to compare cameras and equipment from differnet manufacturers side by side. "The aim of the Production Village is to help people to improve their skills, irrespective of what lights or camera they are working with, particularly with reference to HD," explained David Dawson-Pick (left), of DDP Enterprises, which is organising the free training sessions. The training should be applicable to a wide range of equipment, and all the sessions (including one-to-ones) are on the IBC website (click on IBC Training - it doesn't allow deep linking) or at the reception desk on site. Tutors include: Christina Fox, of UrbanFox.TV, who will be covering low-budget HD camcorders, audio, shooting interviews, camera support and production on a budget; DoP Jonathan Harrison, who will be doing his renowned Lighting On The Run as a double-session (giving it the time it needs but usually doesn't get), plus seminars on soft lights, lighting in difficult locations (such as jungles), and energy-saving lighting, as well as daily lighting clinics; Multi-camera expert, Peter Taylor, who has worked on such events as Glastonbury and the Proms for the BBC, will have sessions on OBs and multi-camera lighting and lenses; Technology specialist, Alan Roberts will cover colour science, how to set up an HD camera, test cards, operational tricks, and all your high-end camera questions (he will also be launching his new book at IBC, in conjunction with the EBU, called Circles of Confusion - an in-depth look at how to get the best out of HD); Drama DoP, Paul Wheeler, who also teaches at the NFTS, will reveal how to get a particular look using lenses and filters, how to pick the right high-end camera for the job, and location workflow. Visitors to the Village will be able to compare cameras and other equipment from different manufacturers (such as Anton/Bauer, Arri, Autoscript, Canon, JVC, Lite Panels, Panasonic, P+S Technik, and Vinten), while a BAFTA and RTS-award winning make-up artist, Shaunna Harrison, will demonstrate air-brushing techniques and prosthetics, so that you can see how they look using different cameras and lighting. "That's enormously helpful with understanding how flesh tones come out and how to light for them, and so that you can understand the demands of the make-up artist," said Dawson-Pick. The various trainers, and others, have also shot short video masterclasses, which will be viewable at IBC. The Post Production Training Zone, where you can find out more about Apple, Avid and Adobe software, is in Hall 7. David Fox