The Importance of Filters

The look of a production is a key element of the same that is usually taken for granted. This is however a good sign, as this means that it has been seamlessly integrated with the tone of the story. But to achieve the perfect look for a production, there is a piece of gear that might seem menial but that is actually very important.

What are filters?

Filters are rectangular or circular pieces made of glass that allow for manipulation of the light coming through the lens. Some are also made of optical coatings placed inside said glass. This light manipulation capability helps dealing with unwanted lighting conditions and allows for adding creative effects, modifying colour, depth of field and in general, adjusting the image. Filters are usually placed in front of the lens, but can also be placed after the lens and sometimes inside the lens – certain cameras include built-in filters as well. The most popular brands are Tiffen and Schneider, companies with a proven record of know-how, experience and presence in the industry.

How to use them

In order to place a filter before the lens, the most common practice, a matte box is required. Matte boxes come with filter trays designed to hold these in place right before the lens. Except for screw-on filters, which are naturally circular ones like polarisers that screw onto the front element of the lens, filters are placed in the matte boxes’ filter trays, and should cover the diameter of the lenses’ front element.

This is the reason why they normally come in two sizes: 4”x5.65” (also known as PV or Panavision size), which are rectangular filters that cover the diameter of most prime and zoom lenses, and 6.6”x6.6”, which are square filters normally required when working with big zoom lenses such as the heavyweight Angenieux Optimos or when working with full frame. There are also filters in 4”x4” but this size is not so much in use anymore.

Filter trays are normally horizontally oriented, however there are also vertical trays for portrait settings and rotatable trays, which are most commonly used with graduated filters and polarisers. The former is a type of filter that gets gradually darker from one edge to the other, thus the angle in which it is positioned makes one side darker – this can be used for example, to make the sky look darker.

The latter refract the light evenly in different directions depending on the angle, getting rid of glares and reflections. Rotatable trays make it easier to position the filter in the best way to achieve the desired effect.

Types of filters

Filters can be classified in these main categories:

  • Protection: such as the Optical Flat, a filter with no modifications – just a piece of glass for protecting the lens
  • Polarisers: as described above, these refract the light evenly getting rid of glares and reflections in the sky, glass and water.
  • Neutral Density (ND): these reduce the amount of light passing through the lens without modifying colour and are particularly helpful to avoid overexposure. ND Grads as mentioned above also belong in this category.
  • Infra-Red Neutral Density (IRND): same as the NDs, however these help control the amount of Infra-Red filtration on blacks and dark colours.
  • Diffusion: these help diffuse the light to create softer images or distribute the light across the image while controlling sharpness and can also add glow and enhancing traits to skin tones.
  • Special Effects: these add special effects to the image, such as light streaks, fog or day for night.
  • Colour Effects: these are tinted filters that help enhance certain colours on the image or add a tint to it.
  • Diopters: these filters behave similarly to magnifying glasses and are designed for close-ups and extreme close-ups as they allow for close focusing. Split diopters are diopter filters that only have half the glass, enhancing depth of field and increasing the amount of the image that is in focus even at a very close distance from the subject on the foreground.

Even though the final look of a production is achieved during post-production, the use of filters is key to achieve certain effects or image traits that could not be created digitally. This is especially true with polarising, skin tones, flares and bokeh control, particular lighting setups and colours. For this reason, it is not uncommon for DOP’s and camera assistants to carry out filter tests during prep to see how filters behave under the conditions they are going to work during the shooting. The footage of these is then taken into the editing suite, to check how the final result would look like in post-production. At this stage, producers, executive producers and director will also have their say in the choice of filters that best represent the desired look for the production.

Filters can alter an image so much in terms of lighting, colour and skin tones that even some actors and actresses are known to regularly have taken their own filters to the set. One actress that is said to have done this was Joan Collins, who allegedly handed her own filters to the crew for them to use when shooting her scenes, so her skin tones looked to her taste.

The Clapperboard and its Language

The clapperboard, or slate, is one of the most iconic symbols in cinema, yet it presents a vague notion to those who don’t know its specific use in filmmaking. Beyond its very simple, recognizable appearance, lies a more complex system which is key in the filmmaking process – and still remains relevant to this day since its invention some time around the 1920s.

What is the clapperboard and what is it used for?

The clapperboard is a device of simple construction, consisting of a small board – that is nowadays made of translucent acrylic glass, but used to be made of slate, hence its alternative name – attached to a pair of clap sticks, usually made of wood. It is held in front of the camera before (sometimes after) every take and the sticks are clapped before the action unfolds.

These elements fulfil the two main uses of the clapperboard. On the board, information about the production and each take is written, so every shot is easily identifiable by the editor. The sticks are clapped with the purpose of being able to sync audio easily in post-production, as in a professional environment video and audio will be recorded separately.

Who uses it?

The person in charge of the clapperboard during a shooting is the 2nd Assistant Camera (2nd AC), as per its US denomination, or Clapper Loader, a name that tends to be used more frequently in the UK. The job description in regards to the clapperboard not only entails operating it, but also filling out camera sheets. As part of its operation, it’s necessary to understand what to write on each section of the clapperboard and know how and when to call out the right instructions.

What to write on it?

The clapperboard is divided in different sections as can be seen in the image below.

  • Production: Name of the production
  • Roll: Identifies each roll of film, tape or media card (depending on which format the production is being shot on) the camera is recording onto. If there are multiple cameras, you will need to label the primary camera as ‘A’ camera and the second as ‘B’ camera.  Your roll on A camera could be A004 while B camera will start back at 1 such as B001.
  • Scene: Identifies the scene being shot, normally the scene number according to the shot list. (Pro tip: skip the letters “I”, “O” and “S”, as they could be confused with the numbers “1”, “0”, and “5”.)
  • Take: Identifies each take – every time the camera records and stops is considered a new take, always starting at 1.
  • Director: Name of the Director – do not misspell!
  • Camera: Name of the Cinematographer – do not misspell! – depending on the production, sometimes the letter assigned to the camera that is being used in a particular moment on a multi-cam shoot.
  • Date: Shows the date of the shoot.
  • Day/Night: Shows whether it’s a day or night scene.
  • Int/Ext: Shows whether it’s an interior or exterior scene.
  • Mos/Sync: Mos should be circled when sound is not going to be recorded, conversely Sync should be circled when sound is being recorded.
  • Filter: Shows whether filters are being used on the lens.

For the day/night, int/ext, mos/sync, most AC’s will put a piece of tape over each element that isn’t in the shot.  For instance, if it is an INTERIOR scene, then put a piece of tape over the Ext mark on the slate.  If you have any doubt to what to put on the slate, reference the shooting script as the heading of each scene will label what scene number and whether it is int/ext.

How to operate it?

The 2nd AC would normally wait until the AD calls for slate. Then, walks into frame, positions the clapperboard where it can be clearly seen by the camera (or cameras), and calls out the instructions. Once the camera starts rolling, they call out “Mark!” and clap the sticks.

When calling out the instructions, it’s very important to be familiar with the difference between the UK and US slating system.

In the UK, every single shot has its own unique ‘slate number’ starting from 1, regardless of the scene.  A new shot can be defined when the position of the camera changes, the subject or focus of the camera changes (for instance on a different character), when a lens change occurs or when any other major change happens. Take this example: let’s assume the scene order of the day is Scene 14, 27 and 6. The system would go something like this:

Scene 14, Slate 1, Take 1

Scene 14, Slate 1, Take 2

(New setup)

Scene 14, Slate 2, Take 1 – whatever the setup doesn’t affect the slate number

(New scene)

Scene 27, Slate 3, Take 1 – whatever new scene doesn’t affect the slate number

(New scene after a few slates)

Scene 6, Slate 17… and so forth – the slate never resets.

In the US however, every new scene has its own number and then each new shot has a character, that goes the alphabet, with takes starting from 1. If the end of the alphabet is reached, the letters are doubled-up (AA, AB, AC, and so on). With the same scenes as the previous example, it would look something like this:

Scene 14A, Take 1

Scene 14A, Take 2

(New setup – e.g. from Close-up to Wide)

Scene 14B, Take 1

Scene 14B, Take 2

(New scene)

Scene 27A, Take 1

(After 28 new setups)

Scene 27AB, Take 1… and so on.

In the US system, it is common practice for a 2nd AC to use entire words when reading out the slate – either using the military alphabet or made-up words. For example: “Scene fourteen alpha, take 1!” or “Scene fourteen apple, take 1!” so there is no confusion.  It is even more common that you will not use the word ‘Scene’ when calling out the shot and may simplify it to “fourteen alpha, take 1” instead.

Useful terminology and situations

  • Soft Sticks

In a situation when the 2nd AC has to clap very close to talent, they would call out “Soft Sticks” instead of “Mark” not to distract the actors.

  • Second Sticks

If they clap incorrectly, they call out “Second Sticks” instead of “Mark”.

  • End slate/Tail clap

When for whatever reason it’s not possible to use the clapperboard at the beginning of a shot (for instance if the shot starts on a high crane and the slate is not possible to be close enough to the camera), this will be held upside down first, then rotated back to its normal upright position and clapped at the end of the shot.


  • MOS

This stands for “Motor Only Shot” and it means recording without sound. The clapperboard should be held with a finger or hand between the sticks or alternatively with your hand over them when they’re shut.

  • Pick Up

When another take occurs and the actions starts halfway through instead from the beginning, the take number increases but PU should be added to the number.

  • After False Start

If both sound and camera are rolling but the take is cut before action is called, AFS should be added to the number.


  • Keep the slate as still as possible when clapping the sticks. If you move during this action, you risk the sticks not being clearly visible at a particular frame to sync the sound.
  • When the 1st AD begins calling for turnover, already have the slate in frame and ready. You will waste time and/or film or memory by not being there.
  • Try to find out where the slate needs to be beforehand.  You can do this by referencing the monitor.
  • However, don’t just stand there with the slate in frame while the 1st is pulling focus for refence marks–you will get on their nerves very quickly as they cannot see through your slate!
  • You want the slate to fill as much of the frame as possible without it being too big.  The easiest way to determine the proper place is for every 10mm of the focal length of the lens you stand approximately one foot away from the lens.  If you are filming with a 50mm lens then you should stand 5 feet from the lens and the slate will be the proper size in frame.  Knowing distance and anticipating this will help serve you as you move up the chain to become a focus puller/1st AC. Even if you live outside the US and use the metric system, it is common that lenses will still use the imperial system for the witness marks (distance from the optical plane).
  • If you buy a labelmaker it makes it incredibly easy to label things that are consistent like the production name, director, cinematographer, etc.
  • Some 2nd AC’s use pre-written tape with numbers and letters to fill out other boxes like the scene and take and borrow these from the back of the clapperboard as needed.
  • In most instances the slate should be perfectly parallel to the lens, however there are instances when lights bounce off the slate and may reflect this back into the camera. Investigate this beforehand so you will be ready and not need to adjust.
  • Anticipate changes ahead of time. While the shot is being recorded, go ahead and *quietly* erase the previous take and write the next one there.  You will then be ready for the next take if it is needed.
  • It is a best practice to plan your route away from the camera before the 1st AD calls for turnover. You may have to tuck into a corner of the set that isn’t being used or find a way around obstacles.  If you mark the slate and then panic for how to get off set or disturb a piece of the set, you will look like an amatuer or you might make enemies of other departments. Further, you should stand on the side that you will exit—if you were to walk across the frame then this is time taken instead of shooting.

BSC Expo 2018: Show Highlights

The BSC Expo took place last weekend for another year, and did so repeating venue due to the success of the last edition at Battersea Evolution.

The show, which is organised by the British Society of Cinematographers, is a staple event in the industry where the latest advancements and trends in professional equipment for TV and film productions are announced, and the latest technologies and innovative products and services are showcased. Attended by top-tier manufacturers, high-profile professionals and enthusiasts alike, the event is the perfect occasion to network, keep up to date with information about the industry and even expand one’s knowledge.

This was especially possible thanks to the seminar programme that took place over the two days, where cinematographers and technology specialists covered different topics in both creative and technically-driven presentations.

Relative to the former, the highlight event was the seminar hosted by John de Borman BSC which included a panel comprised of world-class cinematographers Barry Ackroyd BSC, Guillermo Navarro ASC, Jose Luis Alcaine AEC and Mátyás Erdély HSC, who discussed their approaches to the craft and how their nationalities and upbringing may have influenced their work and vision.

Another very interesting and informative seminar was the conversation hosted by Vanessa Whyte with cinematographers Kate Reid and Petra Korner, who talked about their creative approaches to shooting drama, both for TV and feature films, their preparation routines before a job and their working relationships with other key production members, such as the director or producer.

The seminars and masterclasses related to technology and technical aspects included presentations from ARRI, Panavision, Fujifilm, FilmLight, Sony, Zeiss, RED, Mission Digital and Mytherapy.

It was precisely on one of these talks where ARRI gave in-depth details about their new large-format camera system, unveiled at the beginning of the first day.

The Alexa LF (Large Format), their first 4K camera, has a slightly larger sensor than full frame and comes with the new LPL mount (Large Positive Lock). According to ARRI, these two features open an array of possibilities. With the large format sensor, the camera can record in three different settings. The first, LF Open Gate, uses the full size of the sensor and records in true 4K. ARRIRAW is therefore available, though this requires a Codex drive due to the large amounts of data this mode produces, making it also tough to handle it in post. The next mode –in 16:9- informally dubbed “The Netflix mode”, records in 3840×2160, the minimum resolution admitted by Netflix as 4K. With this mode, ARRI intends to join the competition to have their new cameras working on Netflix productions, which are becoming more and more popular, against the cameras that are being used currently from manufacturers such as RED and Panasonic. The last mode, perhaps the most interesting out of the three, is in 2.39:1 and allows for anamorphic recording without the need of a 4:3 aspect ratio or image de-squeezing.

This system is also comprised of a new set of lenses, the ARRI Signature Primes, whose selling point is a shallower depth of field with an improved bokeh due to the LPL mount, that makes faces look better. Thinking of maintaining compatibility with current lenses from third-party manufacturers, ARRI have designed an LPL to PL adapter, allowing to continue to use both Super 35 and Full Frame PL lenses. In addition, the camera has completely functional built-in wireless, ready for monitoring and lens control. ARRI accessories stay perfectly compatible with this camera and so do the current workflow solutions for post-production. All of these advantages come at a price of course, one of the camera’s main disadvantages with the camera rounding £80k for purchase, along with its heavy weight around 8kg.

16 large-format ARRI Signature Prime lenses

But ARRI weren’t the only ones displaying large format. In fact, this could be identified as the trend that the industry and camera manufacturers are likely going to follow, according to what could be seen at the show.

Panavision also unveiled a new full frame camera, the DXL2. The camera, built in conjunction with RED, features RED’s 8K Monstro sensor and includes all of the REDCODE recording codecs. This camera offers a dynamic range of 16+ stops, a native ISO of 1600, a wider colour gamut, and ProRes 4K up to 60 fps. The camera comes with a built-in Preston MDR, which readily facilitates lens control. It is also possible to introduce flare with spherical lenses thanks to its anamorphic flare attachment (AFA).

Despite of their collaboration with Panavision, RED brought their newest Weapon cameras to the show, exhibiting them with all three different sensors: the Monstro 8K Full Frame, the Helium 8K Super 35 and the Dragon 6K Super 35. The body of the Weapon, much smaller in size in comparison to the DXL2, allows for easy mounting onto gimbals, drones and other types of handheld shots. Much like the LF, the Weapon also comes with built-in wireless peripherals and control and offers an array of lens mounts to make it as compatible as possible.


Sony, the last of the full frame competitors at the show, also had their latest Venice camera on display, unveiled long before ARRI’s LF and Panavision’s DXL2. This 6K camera, similar in size to the latest REDs, offers several recording modes such as full frame, anamorphic, widescreen spherical 2.39:1 or Large Format Scope, as well as Super 35 17:9 and 16:9. The camera also features a Dual Native ISO of 500 and 2500 and a high speed readout sensor which minimizes “jello” effect.

Even though full frame developments mainly “stole” the show this year, other highlights included Hawkwoods’ Mini V-Lok batteries, Bright Tangerine’s products -mainly showcased as accessories on other products as they didn’t have their own stand- and Kino Flo’s LED tubes prototype lighting.







The Quadrant System


Everyone likes a good story. And arguably, story is the determining factor to “make or break” a film, often prevailing over other elements. But even the greatest of stories needs to be told properly. When it comes to films, as it is an audiovisual medium, there are plenty of devices at the filmmaker’s disposal that aid storytelling. Particularly speaking of the “visual” side, there is obviously, cinematography. While heavily linked to other visual elements such as production design or an actor’s performance, cinematography also influences these other elements, to the point that it can shape them. In particular, cinematography is comprised of components such as composition, which is a basic tool in terms of storytelling, especially when mastered.

In the same way there are different set structures that can be used to mould a storyline when script writing, there are also basic set rules for composition. Some of these rules are for example, the “Golden Ratio”, the “One-Point Perspective” or the “Rule of Thirds”.

The first is based on the Fibonacci Sequence and can be found in nature and the human body and has been used in countless works of art and design. This ratio has proved to be very pleasing to the human eye, therefore using this sequence as a reference when framing, it is possible to get an interesting shot or picture straight away.

The second is immediately associated to Stanley Kubrick, who used it widely throughout his filmography, eventually becoming one of his staple framing techniques. It consists of creating a single vanishing point, by framing in a way so all the lines converge on that same point. This creates a sense of depth, as it adds a third plane to a two-dimensional picture.

The “Rule of Thirds” is an imaginary grid that stems from dividing the frame into thirds, both vertically and horizontally. The dividing lines form nine boxes with four intersections, which can be used for reference when framing. In fact, a very common practice is to place important characters or objects on these intersections to emphasise their importance within a shot. Like with the Golden Rule, this is also a way to create an immediately interesting shot, as it is also visually appealing.

Beyond the Rule of Thirds

Learning the basics of these rules and then mastering them is very important, like gaining a solid knowledge of the basic techniques of any craft. It is then, when these can be taken to the next level, which might mean departing from their more traditional use to bend and break them for effect. This takes us beyond the Rule of Thirds, to an apparently simpler approach at first sight, but that in reality contains a lot of potential as a storytelling tool. If instead of dividing the frame into thirds, we divide it down the middle both vertically and horizontally, we get the “Quadrant System”, a grid with only four boxes instead of nine. With this grid as base it is possible to achieve unconventionally framed shots that can give life to a scene. Especially when it comes to highlighting a character’s situation or to delve into its personality, thoughts or to convey certain feelings to the audience. The TV series Mr. Robot makes a constant use of this method. In this show, characters are often “awkwardly” placed in the corner of the frame, which increases the amount of negative space, i.e., the space around and between the subjects of an image. This makes characters seem small in comparison to their surroundings, which conveys feelings of isolation, loneliness and powerlessness.

Furthermore, the high amounts of negative space produce a jarring effect on the viewer, especially since characters are “out of place” in the frame, and therefore this creates visual tension because we are not used to it.

In addition to negative space, visual tension is also comprised of gazing direction and breathing room. Gazing direction is the way in which the character is looking and breathing room is the distance between the character’s head or face and the edge of the frame. Both can be combined like in the following picture to create visual tension. In this example, placing Elliot so close to the edge of the frame with so little breathing room creates a sense of unease and discomfort.

Another use of placing characters in the boxes can be to establish dominance. When two characters share the same box it usually signifies confrontation. In a dialog, this can represent a power struggle between the two characters.

A similar effect is achieved by dividing between top and bottom. In this show, another way of representing characters’ insecurities and doubts is by placing them at the bottom of the frame, and making them small in comparison to their surroundings.

When defining the cinematography based on this system, it is important to be aware that not every single shot might need to be framed in an unconventional way, therefore it is important to know when to use this technique, in favour of storytelling. A combination of asymmetrical (or unconventionally framed) and symmetrical shots might give the visuals a right balance and will boost your story by having the right contrasts when emphasising particular aspects of the same in regards to characters, feelings or moods and even places.



The Director’s Statement: What to Write

So you’ve been asked to write a director’s statement. First off, know that director statements are very specific parts of any proposal, and must reflect the very best of your film.

But what exactly is a director’s statement?

Where a screenwriter might be asked to provide a synopsis for the script so that interested parties can gain a better understanding into the writer’s mind, a director might be asked for a written proposal of his vision for a film. It’s the director’s interpretation of the script, and the leading tool in its production.

This could include the technical aspects of a film, such as framing and focus, as well as the practical ones–i.e. the film’s budget. But it’s not as daunting as it sounds, and is actually quite fun to write.

Who reads it, and why?

So who asks for a director’s statement? Well, it depends. If your film has not yet been made, and consists only of the writer’s script, you could be applying for funds or grants from funding bodies to cover your proposed film budget. Perhaps you’re kickstarting a campaign for the same reason. Or maybe you’re submitting your project idea to a competition.

Whatever the case you’ll probably have been asked for a director’s statement. Sometimes directors even use a statement to send to their cast, just to get them in a similar mindset. Mostly, this is to give people the information as to how, as a director, you plan to make the scriptwriter’s idea come alive.

If, on the other hand, your film has already been made, and you’re pushing it into a festival run, your statement might be needed for one of two reasons. One, so that parts of it (such as synopsis, logline or your objective as a director) might be included as part of your film’s summary, or two, it might be used as part of a press pack, so say that your film was a runner up/winner, you wouldn’t need to be as thoroughly interviewed a you would have been had reporting bodies not been sent your statement already. They could report on your film using your statement as a reliable source.

How long does it have to be?

Usually no longer than one side of A4. It needs to be brief and to the point. Remember, the statement is used as reference, and people won’t want to skim through an entire essay. So make sure not to go over the required word count, especially if specifically stated in the guidelines you’re adhering to, which are usually strict about length/word count. Here your summary skills will be called onto, as information is key.

What goes inside?

  • Story

It’s always good to set up the premise of your film.

What is the story about? Here you can give away the main synopsis in a few sentences. You can talk about your main character, his or her dilemma, and the stakes of your story.

Also, What genre does it belong to? And the time period? Is it a modern-day horror? A fantasy-adventure film set in the desert? A mystery thriller neo-noir film that makes you feel just a little bit sick to the stomach? (That’s looking at you, Oldboy)

You can also talk about the film’s genesis. To what do you owe the idea’s origins and why do you identify with it?

  • Themes

What is the main theme of your film? Every film has got one, so think carefully! Even if you’re not sure, this is a good time to read through the script again with a critical eye. Are you going to be representing loneliness? Exploring an existential dilemma? Is it a man versus nature epic? Are you weaving a tale of revenge?

There will probably be a lot more underlying themes in your film, and these make up the subtext section of your project. You don’t have to touch on them all! Just the ones you think relevant.

  • Vision

As a director, you’ll have thought about the visual style, the aesthetics your film will adopt, and the visual choices you make that will complement the scriptwriter’s theme.

This can include anything from editing choices to production design, but whatever you include, make sure it stands out. What are your colour choices? Do the colours you’re going to use represent the themes you’re trying to evoke to the audience? So cold colours (greys, blues) to evoke isolation or warm tones for an idyllic feel? Will they match actors’ costumes?

Talk about your framing and focus, how you’re going to film, what mood or special effects you want to use, really anything visually important you want to include to show your project’s unique voice. This could also be technical difficulties you expect to or have faced throughout production.

  • Purpose

If you’re writing this in application of funding, it can’t hurt for you to write what exact purpose you want the funding for. Do you already have a budget that lays out each expenditure you’ll need? You could give a quick overview as to what purpose your funding will serve. Is it for equipment, actors, festivals or specific on set locations?

Also, why as a director, do you want to do this? Is it to raise awareness on an issue? Do you want to have a social impact? How will your story affect other people?

Again, this is all up to you, it’s the director’s vision, and everyone is unique in their own way. It’s your time to shed a light on the way you want to work and how you want to achieve your passion.

The director’s vision complements the writer’s script in a way that it become the script’s progression. It’s the next step towards the production of a film, the director’s blueprint, a map of sorts that can serve as a guideline for multiple reasons.  And only the director’s statement can really let people know exactly how the script will be transferred from page to screen.

Your vision, if it’s been well thought out and thoroughly developed, will separate you from the competition and shine a spotlight on your potential. Remember, it’s the way a film is told that makes the story unique.


Media Production Show 2019


Come along to this year’s Media Production Show, say ‘hello’ and pick up your free swag.

Register for your free access and check out industry brands at the biggest event for technology and talent in the creative industries. The show will feature key exhibitors presenting their products and services that vary across pre-production, post and content distribution across two days. There will also be a programme of free high-calibre seminars with some of the biggest industry names sharing their inspirational insights and valuable knowledge.




About Media Production Show:

Launched in 2016, The Media Production Show provides opportunities to meet and network with different exhibitors presenting their products and services that vary across pre-production, production, post and content distribution. 2019 is the year the event will be showcasing talent and technology across the creative industries… not a show to be missed!

The Media Production Show is hosted and organised by the publishers of market leading titles including Broadcast, Broadcast Intelligence, KFTV, The Knowledge, Production Intelligence and Screen International. We also have a highly successful track record in organising high-end conferences and industry awards, with a reputation for bringing the key players together, to debate the creative industries, network with each other and celebrate their successes.

We are excited to exhibit alongside our colleagues at:

  • Avid
  • Canon
  • JVC
  • Panasonic
  • …and many more
We look forward to seeing you there!

BVE 2019

Come join us for free at this year’s BVE at the ExCeL Centre London, booth K67. Creative minds, tech professionals and business leaders can see the biggest brands, newest kit, cutting edge tech and visionary speakers. And collaborate to create beautifully told stories, seamless workflow solutions and future proofed strategies that transform our industry.




About BVE:

BVE is the largest broadcast, production and media and tech exhibition in the UK attracting over 12,000 creative professionals, business leaders and tech professionals every year.

BVE 2019 is giving you access to:

  • 300+ brands exhibiting the latest technologies with exclusive offers at the show
  • 100+ free to attend and industry accredited seminars
  • 200+ industry experts providing you with best practice industry insight
  • Unlimited access across all 3 days

We are excited to exhibit alongside our colleagues at:

  • Avid
  • Soho Broadcast
  • DELL
  • Mandy
  • …and many more
We look forward to seeing you there!

The Photography/Video Show 2019

…AND ACTION! Come along to this year’s Photography/Video Show and learn about the latest development in the world of videography, cinematography and photography.

The Video Show will take place for the first time at the NEC, Birmingham in 2019. It will be co-located with The Photography Show.

You can also take advantage of our discount code IMISTVS19This will give you 25% off sign day. standard and advance tickets for all masterclasses!


Whether you’re a budding filmmaker, a professional videographer, a vlogger or an online content creator, The Video Show has everything you need to expand your moving image production horizons. Get your hands on the latest kit, try out new techniques and learn about different aspects of videography from some of the best names in the industry.

Topic will include:

  • 360 film
  • HDR
  • Content Creation
  • Documentary
  • Short Film
  • Storytelling
  • Commercial
  • …and many more

The Video Show is organised by Future and run by a passionate events team, supported by market-leading magazines including the UK’s #1 consumer technology website,, the go to resource for artists and designers; and the award-winning Digital Camera and

BSC Expo 2019

BSC Expo is coming to Battersea Evolution. Come along with your friends and join us at our boot for a chat or a quick ‘hello’ and pick up your free swag. Entry is free for all. Register now.

We are excited to exhibit again this year across two full days of fellow exhibitors showcasing their latest equipment. As well as that you will be able to immerse yourself in a large number of panel discussions and presentations.

This will also give you the perfect opportunity to come see us at our stand, pick up your free swag and get a great deal of inspiration from across the industry.

About BSC Expo:
The BSC Expo  is the UK’s premier dedicated film and TV production show and is now a recognised fixture in the industry calendar. The 2019 is set to be the biggest ever, with national and international manufacturers and suppliers. This is a great opportunity to test all of the latest equipment and technologies in a relaxed industry environment.

We are excited to exhibit alongside our colleagues at:

  • ARRI
  • NBC Universal
  • Zeiss
  • RED
  • Sony
  • …and many more
We look forward to seeing you there!