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The Danish Girl

by Adam Glasman Issue 112 - April 2016 Colorist Adam Glasman reveals how he was inspired by the classics to grade Oscar nominated transgender pioneer biopic, "The Danish Girl". Based on the book by David Ebershoff, "The Danish Girl", which has received four Oscar nominations this year, is the remarkable love story inspired by the lives of Lili Elbe...

Submitted by Adam Glasman

Published 25 April 2016

Educating with Robots

by Sian Roberts, Online Editor Issue 110 - February 2016 Educating with RobotsTimeline North's post production director, colorist and VFX artist reveal how they used DaVinci Resolve and Fusion to complete 140 sketches for upcoming CBeebies children's series, Spot BotsMade up of a series of funny live action sketches, new CBeebies - a popular BBC ch...

Submitted by Sian Roberts

Published 16 March 2016

#TVFUTURES

by Callum O\'LearyIssue 102 - June 2015I made it! So here we are, the last feature to write for Kit Plus and the end of my time as a BSc (Hons) Television and Broadcasting student at the University of Portsmouth. I remember my first year at the University fondly. Lecturers and students told me that it would fly by and however cliched it sounds...it...

Submitted by Callum O Leary

Published 01 July 2015

Those pesky scientists

by Dick Hobbs Issue 102 - June 2015 This month\'s picture is of something I was given on a visit to the Grass Valley camera factory in Breda, maybe 10 years ago. I think it is a thing of beauty, which is why it sits in pride of place on top of the wine cabinet. It is the sharp end an HD system camera: the optical block and a CCD imager. We saw in t...

Submitted by Dick Hobbs.

Published 01 July 2015

Cautionary notes from GTC Member number 001

by Dick Hibberd Issue 101 - May 2015 Recently I was invited to be on the panel of judges charged with selecting the winners of the 2014 \'Bill Vinten GTC University Awards\'. This was just the second year of this excellent scheme and, if the submissions from universities increase annually pro rata, then we will soon have a major logistics problem i...

Submitted by Dick Hibberd

Published 01 June 2015

An editors perspective

by Larry Jordan Issue 92 - August 2014 When it comes to chroma-key (also called “green-screen key”) the phrase “Don’t worry, we’ll fix it in post.” is a recipe for disaster, because if you don’t shot your key right during production, it will be painful, timeconsuming and expensive to fix it later during editing. I know, because I’m an editor. Bad c...

Submitted by Larry Jordan#

Published 01 September 2014

Lighting for virtual sets

by Mike Perry Issue 92 - August 2014 We often get asked why lighting for a virtual set is not working well. The client has fitted a virtual studio painted with domestic green paint and fitted with presumably suitable lights, but the camera just can’t get a decent image. Where’s it all going wrong? Well, to answer questions about lighting a virtual...

Submitted by Mike Perry

Published 01 September 2014

Cutting the cord

by Will Strauss Issue 87 - March 2014 Wireless cameras are not new. In fact, they date back to the 1970s. But its only been in the last ten years that this technology has really blossomed, with engineers working out how to adapt the digital terrestrial transmission technology so that it can be used efficiently for programme-making. From that tippin...

Submitted by Will Strauss#

Published 01 April 2014

Training the next generation

by Dick Hobbs Issue 86 - February 2014 At the end of January a new body the Institute for Training in Television Production (ITTP) held its first conference, organised by the publishers of TV-Bay magazine and chaired by former broadcaster Roz Morris, MD of TV News London Ltd. A packed room debated sometimes hotly the issues. Chair of ITTP is freela...

Submitted by Dick Hobbs.

Published 01 March 2014

Review: DaVinci Resolve 10

by Toby Tomkins Issue 85 - January 2014 Colour grading for me is about the final sculpting of the image, in terms of colour, tone, texture and composition. My goal as a colourist is to push the colour, tone and texture to reflect the desired emotion and story of the image. I choose DaVinci Resolve to be my metaphorical chisel because it has a tools...

Submitted by Toby Tomkins

Published 01 February 2014

Why is mediocrity such a powerful force?

by Thomas Urbye Issue 85 - January 2014 Ive hit the decade mark!Yes, Im now in to my second ten years working in Sohos post production world. Not only that, Im ten years working with some great Directors, DoPs, Producers and Exec Producers (not to mention the great people that are hired by these people). In that time Ive met all sorts of characters...

Submitted by Thomas Urbye

Published 01 February 2014

Following the Ravensbourne 3: What a past few months!

by Ruth MatosIssue 79 - July 2013 Here I am, at the end of my course BA Hons Production. For this final term I had to submit several projects including a portfolio showing a wide range of skills that I have developed and learnt. The most challenging and important one was a music video called Born of Stars, where I took the role of producer and DOP/...

Submitted by Ruth Matos

Published 01 August 2013

Increasing creativity and functionality with Q-Ball

By Jim Daniels, technical director, Camera CorpsTell us more about Camera Corps and its position within the industry…Camera Corps was founded almost 20 years ago to offer broadcasters video system design and rental services. Having focused on rentals from the very beginning, we have provided high-volume cameras, pan-and-tilt heads and tracking syst...

Submitted by Jim Daniels

Published 01 July 2013

The way forward for lighting control

High Quality LED Fixtures are the Way Forward for Lighting ControlPat Grosswendt, Co-Founder, LitepanelsThe majority of directors of photography (DPs) work by the motto that if anything looks lit then it has been done badly. Whether on the set or in the studio, lighting directors strive to create images that look as natural as possible. The key to...

Submitted by Pat Grosswendt

Published 01 March 2013

Why does my project look different on every screen I watc...

By Thomas UrbyeThe age old question, asked by so many people who’ve come through my suite: “I’ve downloaded it to my laptop and it looks different?”Then there is the inevitable panic:“Thomas, how can we make sure that everyone who watches it, watches it ‘properly’?”This issue recently came to light with a campaign backed by moviemakers launched to...

Submitted by Thomas Urbye

Published 01 February 2013