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New ITV show Keep It In The Family comes to BBC Elstree

16 October 2014: BBC Studios and Post Production is providing full studio facilities at BBC Elstree Studio D for Keep It In The Family, ITV Studios’ and Over The Top Productions brand new Saturday night family game show. Presented by Bradley Walsh, each show sees two families of four – spanning three generations – aided by celebrities from hit shows including The X Factor, I’m A Celebrity Get Me Out Of Here! and Emmerdale, battle it out over a series of rounds for the chance to win a wide array of prizes. In a unique twist, it’s not the parents who will be calling the shots, but the kids, meaning anything could happen.

Larger than a traditional game show set due to the practical tasks featured in the show, including a celebrity trapdoor challenge, the Keep It In The Family producers needed a studio space capable of fitting the extensive width and height of the set. BBC Studios and Post Production’s 11,800 sq ft Studio D at BBC Elstree was large and flexible enough to meet the production’s needs.

With an audience of over 400, Keep It In The Family makes full use of Studio D’s fixed seating area, enabling the production to efficiently maximise the studio floor space by reducing the number of audience seats placed on it. They are also utilising Studio D’s HD production galleries which have full connectivity to the studio floor.

“Elstree Studio D was the perfect solution for Keep It In The Family which needed space to accommodate its giant set,” said Meryl McLaren, Commercial Manager at BBC Studios and Post Production. “Over the past year we’ve seen many large-scale variety productions in Studio D, such as Sky’s A League of Their Own and BBC Children in Need, and we’re delighted to add ITV’s Keep It In The Family to that roster.”

The 6×60 minute series of Keep It In The Family will air on ITV soon.


Bill Vinten GTC University Award finalists announced

This year’s finalists vying for the Bill Vinten GTC University Award have taken to boats, filmed underwater, shot in 21:9 widescreen, and worked into the night with smoke, lights and mirrors to get their work noticed.

The competition focusses on the undergraduates’ use of camera skills to enhance the content of the films.

The six on the shortlist are:

Adam Grasso, Director of Photography, ‘S.O.S. (for the artist Femme)’
Vince Knight, Director of Photography, ‘ The Domestic Lives of Mollusks’
Jacob Leese, Camera Operator, ‘Scarlet’
Thomas McKie, Director of Photography, ‘The Last Fisherman’
Daniel O’Flaherty, Director of Photography, ‘Sunday Dinner at the Morgans’
Thomas Reed, Director of Photography, ‘Flypaper’

The top three camera operators will work with the BBC’s ‘Doctors’ production team and Lion Television. They will also receive trophies and membership of the GTC.

As well as identifying new talent and giving the top three cameramen essential experience in broadcasting, the competition aims to encourage excellence in all genres of camerawork.

"While dramas feature in the shortlist, many graduates will work in other fields like news and documentaries so it is important to emphasise the skills needed in these areas too," explains competition director, Alan Duxbury.

Entries from universities increased by over a third this year and the institution with the highest scoring portfolio from the films submitted by their undergraduates will win the prestigious Bill Vinten GTC University Trophy.

The universities competing for the Bill Vinten GTC University Trophy are:

Birmingham City University
Bournemouth University
Buckinghamshire New University
Cambridge School of Art, Anglia Ruskin University
Edge Hill University
Kingston University, Faculty of Science, Engineering and Computing
Northern Film School, Leeds Metropolitan University
Southbank University
Staffordshire University, Media (Film) Production Course
University for the Creative Arts
University of Lincoln

The Awards will be presented at the University of York’s Heslington Studios on October 22nd 2014.

Guests will be able to view the shortlisted entries on the night, or beforehand on the GTC website at

http://www.gtc.org.uk/students/bill-vinten-gtc-university-award/bill-vinten-gtc-university- award-2014-shortlisted-entries.aspx



Background to the awards

With the proliferation of channels, instant news and competition from other media, there was an increasing perception within the industry of a lack of camera skills in certain areas. What was fairly clear was that the relevance of the picture content was becoming undervalued, with the result that the quality of pictures was becoming less and less important.

This led to Stuart McKears suggesting, in 2011, the idea of a GTC University trophy which would be awarded to the university that exhibits excellence both in content and in craft skills by submitting a single portfolio of film or video in three different genres. These would have been wholly produced, created, shot by current or just graduated students who would also receive an award.

Bill Vinten OBE had also expressed his willingness to support a student award so he and Stuart met and the format of the award was finalised thanks to the generosity of Bill Vinten who agreed to fund paid work experience prizes for the leading students.

On May 11th 2012, the Bill Vinten GTC University Award was launched with prizes of a prestigious trophy for the leading University and paid work experience of worth £2,500 to the leading student and two runners up prizes of paid work experience worth £750. The three winners would also receive one year’s membership of the GTC.

Funds to pay these awards come from The Television And Video Camera Craft Educational Trust which has been created to oversee Bill Vinten’s five year funding for the awards and to promote, maintain, improve and advance the education and training of the public in the arts, in particular through but not exclusively, camera craft and related media skills.

In the first year, the Bill Vinten GTC University Award attracted entries from eight universities with 22 camera operators vying for the work experience prizes. In 2014, this has increased to 11 universities and 33 camera operators .

Dick Hibberd, the GTC President, comments: “The breadth of the productions has been most heartening and bodes well for the future of the industry. Whilst some entries still have some way to go, others have been truly excellent. It is most encouraging to see the skills that have been mastered by the graduates.”

The award is supported by The Television And Video Camera Craft Educational Trust. Reg Charity: 1152233

Ride TV Chooses Globecast Media Factory for Content Management Playout and Distribution

Los Angeles 16 October, 2014 —Globecast has been selected to provide content management and playout for brand new equestrian lifestyle channel Ride TV.


This is the first new channel to be launched since Globecast’s Media Factory investment in Culver City, benefitting from more flexible and efficient content management and delivery. Globecast’s satellite and fiber capacity in North America and the LatAm region, along with its capability to handle the end-to-end service provision, from content ingest, scheduling and origination through to playout and distribution, in-house was a key factor for Ride TV.


A leading cable channel dedicated to horse culture and lifestyle, Ride TV provides 24-hour HD content for its viewers and is available to all the major cable, satellite and pay-TV operators. Ride TV’s content is a mix of reality shows, news programs, talk shows, documentaries, and live championship events.


Commenting on the agreement, Ride TV CEO, Michael Fletcher, said, “Globecast offers us the benefit of having all our content preparation and delivery requirements under one roof. It also means that we can scale up our operations as we need to, without having to make costly infrastructure investments of our own.”  He added, “A big factor in choosing Globecast was definitely their team, their flexibility, and their attention to our needs.  That’s really important for a new, independent network.”


Globecast’s Eddie Ferraro, Vice President Sales and Marketing, The Americas, added, “We’re very excited to sign on Ride TV as our first new customer since our Media Factory upgrades  at Culver City. The upgrades to our infrastructure and the flexibility and scalability that Media Factory offers means Ride TV has the confidence that their operation is completely future proof. We can also provide the ability to easily add distribution to multiple platforms – and devices – as and when they need to, allowing them to adapt to changing viewing habits.”


Globecast Media Factory goes beyond traditional media management, logistics and playout services. It replaces multiple, siloed operations, rationalizing them to create a single, efficient process that handles everything from VoD preparation and content formatting through to creative services, quality control and compliance. Media Factory allows Globecast to pass on economies of scale to customers who also benefit from the greater flexibility and the ability to scale up and down as required.


Globally Media Factory has already seen early success with BBC Worldwide and Scripps Networks Interactive.


Video Pioneer Yves Faroudja to Present at SMPTE 2014

Los Altos, CA — October 16, 2014 — Faroudja Enterprises today announced that company founder and president, Yves Faroudja, will present “Improving Video Streaming and File Compression Efficiency without Affecting Quality” at the SMPTE® 2014 Annual Technical Conference and Exhibition (SMPTE 2014) in Hollywood, California.
Scheduled for Tuesday, October 21 at 10:45 AM, Yves’ presentation will show how the efficiency of today’s digital video compression systems may be improved through the use of pre-processing (before compression encoding) and post-processing (after compression encoding). The presentation is part of the “Video Compression” track, held in Salon 2 at the Loews Hollywood Hotel.
Yves Faroudja has been a major contributor to advanced video technologies for broadcast, digital cinema, and home theater. He has been granted over 75 patents and received three Emmy® Awards, including the Charles F. Jenkins Lifetime Achievement Emmy Award. A life Fellow of the Society of Motion Picture and Television Engineers®, Yves was awarded the David Sarnoff Gold Medal, and has been the recipient of many other honors.


Gearhouse Broadcast delivers full range of production facilities to 2014 Asian Games


Watford, UK, 16 October 2014 – Gearhouse Broadcast, a worldwide broadcast services specialist, has delivered HD production facilities for the 2014 Asian Games (XVII Asiad), which recently took place in Incheon, South Korea.

Working with Mito, for Incheon Host Broadcasting Management, Gearhouse provided complete coverage with 65 cameras across five venues hosting a number of sports including athletics, cricket and badminton. It also supplied 31 super slow-mo camera channels and 50 specialist and radio cameras, and sent out a 60-strong team of experts to provide on-site technical support.

This is the first major event that Gearhouse has been able to call on the services of its new in-house specialist RF business, Gearhouse Actis, following its acquisition of the respected French company Actis HF, in July 2014 and subsequent rebranding. Through Gearhouse’s unique partnership with Hitachi, the Gearhouse Actis team were able to develop a solution prior to the Games so that the Hitachi SK-HD1200 production camera could be used wirelessly.

“Having Gearhouse Actis on board is a huge help to us both during the build-up to the Asian Games, and while on-site in Incheon,” said Edward Tischler, head of projects at Gearhouse Broadcast. “It proved a valuable resource for my projects team, and our customers at major events in the future. With their expertise on hand, we can now be much more flexible in meeting the usual RF challenges we face at events like this like the inevitable frequency changes.”

With a large amount of equipment returning from this summer’s World Cup in Brazil, Gearhouse shipped a total of 68 tons of kit to South Korea. This included 65 Hitachi cameras, 25 newly upgraded EVS systems, eight Sony MVS vision mixers, as well as multiple Snell routers and Lawo V_pro8 video processors.

Sang Ho Park, president of Mito Corporation said, “Gearhouse has a proven track record of performing at the biggest events, and has been able to deliver various solutions to meet our broadcast needs, so it was a logical choice for us to work with them. Thanks to its relationship with Hitachi, as well as its new in-house RF offering, Gearhouse Actis, we were able to reduce the number of vendors we had to deal with, which has simplified things from our perspective.”

The Asian Games is a multi-sport event held every four years, hosting 13,000 athletes and officials from 45 Asian nations and around 7,000 media professionals. The XVII Asiad ran from 19 September to 4 October.  

Latest PHABRIX and Leader video test instruments debut at SMPTE 2014, Hollywood

Fullerton, California, USA, October 16, 2014: Leader will demonstrate the latest additions to the PHABRIX and Leader ranges of video test instruments on stand 210 at the SMPTE’s 2014 Annual Technical Conference & Exhibition, Hollywood, October 20-23. Products on show will include the PHABRIX Sx TAG hand-held video/audio analyzer/monitor, the latest Sx TAGC variant with integral signal generator, the Rx rack-mountable series and Leader’s recently announced LV5333 3G-SDI-compatible multi-SDI monitor. Makoto Mizusawa, Christian Young and Pete Anderson will be representing Leader and PHABRIX.

PHABRIX Sx TAG hand-held video/audio analyzer/monitor

The Sx TAG is a hand-held video/audio analyzer/monitor with support for a wide range of signal formats and display standards. Compatible with SD, HD and 3G-SDI, it incorporates analogue, SDI and optical ports. Low entry price allows users to purchase the standard instrument and add supplementary features in the field as required. The Sx TAG can be upgraded to an Sx TAGC which includes a fully functional generator across all standards. An integral video cage generator supports a range of SFP optical transceivers.

All other instruments in the PHABRIX Sx series have been upgraded to support Dolby E, Dolby D and Dolby D Plus via an easy to install option key. An audio/video generator is also added across the Sx product range.

PHABRIX Rx 3G/HD-SDI rasterizer, V9.01

The PHABRIX Rx rack mount range is a modular rack-mounting system available in three chassis types: a 2U version with two integral screens and two rasterizers, the 1U Rx1000 and the Rx 500 1U half rack. The Rx can route its rasterized output through both HDMI and SDI at 1920 x 1080. Up to 8 channels SDI sources can be monitored and logged. Up to 4 of these can be displayed simultaneously using a very large complement of 30 toolsets on one rasterized output. The rasterized output is presented in full resolution 1920 x 1080 as HDMI and 3G/HD-SDI, including audio.  Test screens conducive to the operator’s specific workflow can be configured quickly. The HDMI output enables local instrumentation display. The 3G/HD-SDI rasterized output permits routing of the rasterized display to any point in the facility. The Rx is also KVM-ready, allowing modern facilities to centralize and share the instrument across all facility test points.

With the release of V9.01, the Rx now offers enhanced closed-caption support, frame capture and playback. Four channel simultaneous support for video, audio, 608/708 and Loudness are also provided. Full Dolby decode of Dolby E, Dolby D and Dolby D plus also makes the Rx an attractive proposition wherever Dolby transmission is mainstream.

V-Chip, AFD, live audio channel mixdown and other new features are being co-developed and tested by a major network ops center in the US northeast. These features are scheduled to be added to the Rx rasterizer by the end of October.

Leader LV5333 3G-SDI-compatible multi-SDI monitor

Making its first show appearance, the Leader LV5333 is a new multi-SDI monitor designed for use in studios, technical areas or attached to a video camera-support tripod. The Leader LV5333 is compatible with over 20 HD-SDI/SD-SDI signal formats including 3G-SDI.

The integral 6.5 inch XGA TFT LCD screen can also be used to display video signal waveform, vectorscope or the video image. Leader’s CINELITE® II, CINELITE® ADVANCED, histogram, gamma display, gamut and level error display functions, which were optional on the LV5330, are now included as standard. Other features include cable length, external timing display and field frequency deviation display.  

User-configurable multi-display combinations allow easy inspection of signal parameters. Full-screen displays can alternatively be selected to allow detailed review of specific elements. Up to 16 channels of embedded audio can be displayed using bar level meters. SDI-embedded audio can be extracted and two user-selectable audio channels sent as AES/EBU to a BNC output; they can also be monitored via the headphone output.

Leader’s LV5333 can be set to display YCbCr, YRGB, YGBR, GBR or RGB luminance waveform, colour vector, five-bar, surround-sound level, status or video source. Freeze mode allows comparison of different SDI input signals. Thumbnail picture display can be selected with other multi-display operating modes for easy source identification. Input format, colorimetry, black burst or tri-level external reference input are auto-sensed. Any line of the video signal can selected and displayed in waveform, vector or five-bar representations.

The LV5333 occupies a 215 x 128 x 63 millimeter housing and weighs 1.3 kilograms. It can be powered from battery or a universal mains adapter.

Emerging Cinematographer Judy Irola Wins Nat Tiffen Award 2014 for Excellence in Cinematography Education

Hauppauge, NY – October 16, 2014 – The Tiffen Company, a leading manufacturer of award-winning imaging accessories, congratulates Judy Irola, professor and Conrad Hall Chair of Cinematography at USC’s School of Cinematic Arts, who is the honored recipient of this year’s Nat Tiffen Award for Excellence in Cinematography Education. The award was presented as a part of the International Cinematographers Guild’s Emerging Cinematographer Awards (ECA). Irola was one of four special award recipients who were recognized during the ECA opening event at the American Society of Cinematographers Clubhouse in Hollywood on September 26. She will also be honored on October 26 at the School of Visual Arts Theatre in New York City, where ten short films shot by ECA award winners and honorable mentions will be screened. Tickets for the event may be reserved at https://events.r20.constantcontact.com/register/eventReg?oeidk=a07e9p80st526541ba7&oseq=&c=&ch=.

“ICG’s Emerging Cinematographer Awards recognize today’s rising cinematography stars, and past recipients have moved on to incredible success,” says Steven Poster, president of the International Cinematographers Guild. “The Nat Tiffen Award is particularly special – cinematography education opens the door to a new, talented generation. When artists such as Judy Irola use their talents to help others learn, they become the true definition of an industry frontrunner.”

Irola has an extensive list of cinematography credits to her name, and over the past thirty years, she has built up a rapport with the film industry through her works. In 1979, her first cinematography feature, Northern Lights, was awarded the Camera d’Or at the Cannes Film Festival. Irola also impressed industry professionals and enthusiasts at 1993’s Sundance Film Festival, where she won the Cinematography Award in Dramatic Competition for An Ambush of Ghosts. In 1995, she joined the American Society of Cinematographers, only the third woman ever to receive an invitation. Her filmography includes seventeen independent features and over forty documentaries, and her prodigious skill has led her to work for NBC, 20/20, ABC, PBS and Saturday Night Live.

Irola translates her cinematography background into a unique education opportunity for students at USC’s School of Cinematic Arts. Since 1999, she has been the head of the cinematography department, where she designs curriculum and supervises 24 faculty cinematographers. She is a full-time professor and is the Conrad Hall Chair of Cinematography, endowed by George Lucas and Steven Spielberg.

“On behalf of the Tiffen family, I extend my most heartfelt congratulations to Judy Irola,” says Steve Tiffen, President and CEO of The Tiffen Company. “Judy’s incredible passion is seen not only in her work, but in her dedication to educating other rising cinematographers, as well. She is a thought leader, a teacher and a creator. She wholly exemplifies the message behind the Nat Tiffen award, and her work will continue to inspire others for years to come.”


October 17 2014

ENGLAND — RED Digital Cinema will be highlighting the revolutionary 6K RED DRAGON sensor at Wildscreen 2014, the world’s largest and most prestigious international wildlife and environmental film festival. This is the first time that RED will be exhibiting at the festival, taking place in Bristol, England from October 19th to 24th.


RED EPICs are currently used extensively by the BBC Natural History Unit, were used to film ‘Wild Brazil’ which aired earlier this year, and captured much of ‘Hidden Kingdoms’.  RED DRAGON footage from BBC Natural History Unit projects currently in production will be shown at the RED booth in Waterside 3 Hall.


In addition to exhibiting at the festival, RED will hold an advanced technology and workflow workshop session: ‘RED IN THE WILD’ taking place on Wednesday 22nd October from 15.00 to 18.00hrs. Presented by Dave Blackham, from Esprit Film & Television, this is a chance for up-and-coming shooters to meet leading cinematographers to discuss their approach and how they use the RED systems both in the field and studio.

The 6K RED DRAGON sensor boasts over 19 megapixels, a new color science and an incredible dynamic range – taking both EPIC and SCARLET cameras to the next level and further blurring the line between motion and still cameras.


RED is not only breaking new ground in photography image capture – with DRAGON receiving the highest DxO Mark sensor rating ever – it is also offering more tactical options for photographers. The newly reworked REDCINE-X PRO provides RAW workflow and now features frame tagging, so shooters can mark and access specific frames while shooting.  Also new within this version of REDCINE-X PRO is A.D.D. (Advanced Dragon Debayer), a new algorithm for DRAGON that carefully analyzes every pixel to create the best frame possible.

Red Giant Releases Offload: A New Footage Backup Utility for All Cameras and Media Formats

Portland, OR – October 15, 2014 – Red Giant today released Offload, a brand new standalone application for reliable backup of footage in the field. Available alone or as part of the Red Giant Shooter Suite, Offload makes the often unreliable and tedious task of backing up files from camera card to laptop and external drives a hassle-free experience. Offload is media and camera agnostic, and requires no additional equipment used in the normal footage offload process.

See how Offload works: 

"When your work sits on a tiny, plastic camera card, anything can happen, on location or in transit," said Shooter Suite Product Manager Randon Morford. "Too often, shooters discover that their footage has been lost through a corrupted offload process or through damaged hardware. Red Giant Offload eliminates the stress that every filmmaker goes through between shooting and delivery – it gives you the peace of mind that your footage was safely copied with the added benefit of automating an additional backup."

“I’ve experienced hard drive corruption before and lost a huge amount of data,” said filmmaker Trevor McIntosh, who has also worked as a DIT. “Offload’s backup and checksum features make me feel safe about my footage.”

Unlike a typical footage “copy and paste” backup operation, Offload gives users clear visual assurances that their footage has been safely copied. The user interface features progress indicators as well as footage thumbnails, and offers file verification notices so that users are assured that their work has been safely transferred to disk. Users can also opt to make an additional, automated backup of their footage. Reliability does not supersede simplicity, however – rather it’s a marriage of the two. The app is clean, simple to use and requires just a few clicks of the mouse to get Offload going.

“Offload knows data wrangling isn’t my day job,” said filmmaker Jason Wingrove. “It’s not just the easiest, safest way to copy my footage, but it’s also the best on-set app for letting me stay on set!”

Pricing & Availability
Red Giant Offload is now available for just $49 USD. Crossgrade (for existing BulletProof users): $29. For current Shooter Suite owners (v.12.5), Offload now comes as a free addition. To learn more about Offload and for purchasing information, please visit http://www.redgiant.com/products/all/offload/



Light Illusion and EIZO further extend their partnership

London, 15th August 2014; Leading global colour management specialist Light Illusion and industry leading display manufacturer EIZO are delighted to announce an extension of their display calibration partnership, with the immediate launch of LightSpace EIZO and LightSpace EIZOLight. These two dedicated versions of Light Illusion’s industry leading display calibration and colour management system means users can now perform fully automated profiling and calibration of the EIZO ColorEdge monitor range without having to invest in the full cost of LightSpace CM, guaranteeing the most accurate results possible for all colour critical applications, as a cost effective price point.


Rob Musson, EIZO Limited Managing Director  says, "Extending our partnership with Light Illusion was an obvious choice, as LightSpace CMS provides unmatched levels of calibration, which is something all EIZO ColorEdge monitor users demand. Having Light Illusion develop dedicated EIZO versions of LightSpace CMS enables all EIZO users to access this ultimate level of calibration, regardless of their business model".


Select EIZO ColorEdge monitors feature in-built high-resolution 3D LUT based custom calibration capabilities that enable 3D LUTs created via Light Illusion’s new LightSpace EIZO and LightSpace EIZOLight calibration and LUT management systems to be directly uploaded to EIZO ColorEdge monitors. This adds a whole new level of calibration and LUT flexibility for EIZO, allowing custom user calibration settings, user created colour spaces and custom ‘Look’ manipulation.


Steve Shaw, CEO of Light Illusion is delighted by EIZO’s latest advance in its adoption of LightSpace CMS. "Our continued discussions with Victor Aberdeen, UK Sales Manager for EIZO ColorEdge monitors, defined a need for users to be able to access dedicated versions of LightSpace CMS for EIZO display calibration and colour management. We are delighted to have been able to assist with this through the development and release of LightSpace EIZO and LightSpace EIZOLight. The two new EIZO versions of LightSpace CMS – LightSpace EIZO, and LightSpace EIZOLight – enable users to choose their own calibration workflows and level of calibration investment."