Colour Truth: Metamerism in Cinema

Pippa is an experienced writer, events organiser and moderator, specialising in TV and film production.

She is currently working as Associate Editor for Televisual and as Innovation Awards producer for the International Broadcast Convention.

She was a judge for the IBC Accelerator Awards 2024 and Grierson British Documentary Awards 2024.

She regularly writes profiles of high profile alumni of Girton College Cambridge for its Development Newsletter.

Currently a lecturer in psychology, David has spent most of his academic career researching visual perception. His early work (D.Phil. thesis) focused on stereo vision, combined with aspects of basic spatial vision such as contrast sensitivity. He subsequently worked on visual texture and curvature perception (with David Foster) and then the combination of colour and stereo vision (with Fred Kingdom).

Since returning to the UK in 1995, his research interests have broadened considerably to include visual aesthetics (especially the link between colour and emotion), visual appearance (in particular how best to characterise post-surgical facial scarring), synaesthesia and, his current main focus, perception in Autism and Neurodivergence. Observant readers will notice that all of these involve a touch of colour!

Most recently, his students and he have been working on how best to use XR (Extended Reality) technology to both enhance and explore the neurodivergent experience. Finally, he is also well known as an experienced teacher of perception, especially how this links in with neurodivergence.

Peter Wilson is a consultant and long-standing leader in digital cinema technology and standardisation.

He began his career in engineering before holding senior roles at Sony Broadcast and Snell & Wilcox, where he helped pioneer HDTV products and received a Technical Emmy.

Peter has worked extensively with organisations including Creative Skillset, BBC Research, SMPTE, and the European Digital Cinema Forum.

A SMPTE Fellow and Fellow Emeritus of IMIS, he continues to contribute his expertise on emerging issues in cinema projection.

Mike started as a projectionist 35 years ago with UCI cinemas and is first and foremost an avid film and cinema enthusiast.

His exacting standards of sound and projection along with a common-sense approach to Maintenance, Operations and Training allowed promotion to national management where he led a large team of engineers.

For the past 11 years Mike has been Head of Cinema Technology for the ODEON Cinemas Group spanning nine European countries and leads a European team.

Mike overseas new and refurbished cinemas technical design, a Central Technical Operations Centre (TOC) as well as striving for Operational efficiency in a modern cinema environment. However, Mike sees his primary goal is to strive for superior presentation standards to continue to prove that the cinema is the best place to watch a movie as the film-maker intended.

Adrian Bull is the founder and Chief Executive Officer of Cinelab Film & Digital (formerly Cinelab London), which he launched in 2013 as a specialist film laboratory and archival restoration service.

Under his leadership, the company has evolved into the UK’s only full-service film lab and digital dailies facility, following its merger with On Set Tech in March 2021.

Bull has overseen its growth into a powerhouse supporting over 600 cinematographers and generating credits on major feature films and TV shows including Fantastic Four: First Steps, No Time to Die, Deadpool & Wolverine, The Phoenician Scheme, The Banshees Of Inisherin, The Witcher, Succession, Saltburn and Last Night in Soho.

He has been a vocal advocate for the resurgence of celluloid film, investing in state‑of‑the‑art photochemical processing, scanning, digital workflows, and archive restoration—championing the coexistence of film and digital formats to uphold creative choice for filmmakers.

Kommer Kleijn SBC (1959) studied in Belgium with among others Ghislain Cloquet ASC and Charlie Vandamme AFC. He became a Director of Photography, a digital imaging pioneer, a visual effects and motion control specialist, a researcher, inventor and an internationally renowned stereographer.

He has received international awards for cinematography, stereography, research and for his contributions to cinematographers associations. Having been at the forefront of the digital transformation at the beginning of the century, he participated in the design of the first digital cinematography cameras and in the development of the DCP distribution standards, which led him to SMPTE fellowship and a “Bert Easey Technical Achievement Award” from the BSC.

As a cinematographer and perception researcher he has been aware of the interactions between monochromatic laser light and the human visual system since the first demonstations of laser cinema projection in 2012.

He was the first chairman of the IMAGO technical committee which he led for a decade. He has been a longterm filmshool teacher and a regular speaker on international image technology and 3D events.

More can be found on http://www.kommer.com

Mark has been in the cinema industry for more than 20 years, promoting projector and signage solutions.

Joining Christie in Oct 2024, Mark continues to use his knowledge and drive to develop a market leading position for Christie in the UK and Europe.

Over the years Mark has grown an in-depth knowledge of the Global Cinema business from a technology perspective. He has worked in partnership with the major exhibitors and smaller exhibitors alike.

Mark has been a Director of the Cinema Technology Community (CTC) for the last 2 years, where he is privileged in being able to support the industry’s growth of technical knowledge, for the benefit of all.

Trevor Davies’ career has focused on the development of professional products for the cinema, broadcast, post-production, and music industries. He has worked for Dolby Laboratories for the last 27 years, where he is currently the Senior Director of Engineering in the Cinema Technology Group. He led the PRM-4200 Professional Reference Monitor and the Christie E3LH Dolby Vision Projector projects. He won a Primetime Emmy Award (2012) and an Academy Award (2016) for the development of the Dolby PRM-4200 Professional Reference Monitor and won an Academy Award (2024) for the development of the Christie E3LH Dolby Vision Cinema Projection System. He holds a B.Sc. in Engineering Science (Hons.) from University of Durham in the UK.

Sarah Thomas Moffat is an experienced Cinematographer. She has worked her way up through camera departments from film emulsion, in all genres, to becoming a Series and Feature Director of Photography. Earning three CSC nominations in different genres, a Telly Award, and multiple film festival awards for Best Cinematography; in docs, factual and narrative, features and series. Virtual Production is also part of her skill set, and she was recently featured in British Cinematographer magazine.

Speaking at conferences for Siggraph, MPTS, and Starting Pixel Live, while featured at IBC, Sarah is also hired to speak on technology.

She is an Illuminatrix DOP in the UK, and member of IATSE Canada, a former CSC Associate and Board Member, and an ASC Vision Mentee Alumni. Sarah also works on deaf and hearing impaired productions, born with a hearing loss, she identifies as such learning ASL in childhood, and is currently learning BSL.

Sarah’s career focus is on narrative story collaborations with experienced teams, as she brings a wealth of knowledge and leadership to support the vision. With dual citizenship, UK / Canada, Sarah works internationally.

Roy Kimani is the Co-Founder and Director of Innovation at CUBE Studio. He drives the application of virtual production across commercials, films, and corporate projects, developing new workflows that merge technology and storytelling.

He combines executive producing, production applications of mobile VP volumes, and credits including The Edenbound, Desire — the official FIFA Club World Cup song by Robbie Williams feat. Laura Pausini — and more.

His focus is on making virtual production accessible, scalable, and impactful for clients worldwide.

Deborah Stone is building a specialist 4D unit to hold the image when blacks lift, projection spills or lighting won’t sit cleanly on skin or shape.

Delivering real-time, protecting tone, contrast and intent, where the maths holds with the art in how DPs read the frame.

Designing for projects working across tools that don’t always behave.

Chris is an experienced VP Supervisor with a deep-tech filmmaking background and expertise in new technology workflows.

Working in Film & TV & VFX, he has primarily focussed on LED Volume studio shoots over the past five years and worked for a number of the major VP and VFX studios, including with the Mandalorian team at ILM, Lux Machina, Framestore on major Features including Marvel movies and Apple TV HETV shows, as well as a variety advertising shoots leveraging VP.

Chris consults as a technology expert, and head of the VP Department on Films and TV. He also works as a consultant for VP studios, and has designed the workflows and trained teams at the Film Soho VStudio.

Kate Phibbs is a London-based, BAFTA-nominated producer currently working as Head of Studio at Film Soho’s new state-of-the-art volume studio, the V Studio.

Prior to this Kate was working at Dimension Studios as a Virtual Production Development Producer, specialising in identifying projects for a VP-led filming approach. Here, Kate enjoyed working closely alongside filmmakers with projects containing a significant proportion of Virtual Production. This process of conceptualising, budgeting, scheduling and ultimately realising their film and TV projects ensured that the right VP tool (or otherwise) was used for the job.

A graduate of the National Film and Television School (NFTS) where she earned an Masters in Producing Film & Television, prior to moving into producing scripted film & TV, Kate was Head of Operations at 3xScreen Media. During this time she lead international teams running large-scale multi-camera live broadcast & television OB productions across the globe from the 2016 Rio Olympics to the Oscar’s red carpet.

Balazs is a cinematographer with over 25 years experience working in Features, High End
TV and commercials. Balazs is a member of the Hungarian Cinematographers Association
and the British Society of Cinematographers, where he also sits on the board of Governors.

Balazs has been nominated twice for a BAFTA, as well as the ASC award, while winning
an ASC Award in 2012 for his work on HBO’s “Hunted” series.

Mari is a Japanese Director of Photography based in UK, coming through the camera department with industry experience over 20 years.

Her background is in TV dramas, she has also shot a feature film, dramatic reconstruction, corporate videos, music videos and interviews.

Recent work includes, a special episode on Hollyoaks “The Long Walk Home” RTS Awards nominated, and BTS Interviews on “Life On Our Planet”(Netflix), “Blue Season” mini TV Series and 2nd Unit DoP on Japanese Netflix feature film “10 Dance”.

Zeb Chadfield is a Senior Colourist and Finishing Artist with well over two decades of experience in post-production, specialising in colour management, HDR workflows, and creative finishing for theatrical, broadcast, and streaming platforms worldwide.

As Founder and Chief Vision Officer at The Finish Line, Zeb is recognised for pioneering embedded post-production and distributed workflows, helping productions deliver consistent, high-quality images across every platform.

He is passionate about demystifying the technical challenges of colour, and is a regular speaker, mentor, and advocate for innovation in picture finishing.

Kevin Shaw, is Head of Colour at Mission Digital where he is responsible for colour managed pipelines, calibration, LUTs and grading.

He is also President of the Colorist Society and a highly respected colourist, consultant, and instructor, bringing four decades of expertise in colour grading for films, TV, commercials, and music videos.

Kevin is a keen advocate of Academy ACES and HDR. He has worked in over 45 countries and taught at Film Schools in the UK, Germany, Australia, USA, Tallinn, and Serbia, as well as for organizations like Apple, Amazon, BBC, CBS, Dolby, Netflix and Sky.

Mark has been in the film, TV & commercial production industry for over 20 years, working on 500+ commercials and numerous major motion pictures, shorts & documentaries.

He is able to count himself as one of the original generation of DITs – shaping & defining the role as the production world rapidly adopted digital camera technology & workflows.

He works as a DIT on a broad range of productions, enjoying the unique challenges each can present, providing clarification and direction where necessary.

Mark consulted for Netflix, making extensive contributions towards a Netflix Partner Support document which defines the various roles & responsibilities within an on-set image & colour workflow. And now consults at Digital Orchard training and developing the next generation of DITs and workflows.

David is a leading expert on the global film and cinema market, and played a fundamental role in the conversion of cinemas to digital projection and distribution technology over the past two decades, both in his OMDIA (formerly IHS Markit and Screen Digest) role and as Board Member and past-President of the European Digital Cinema Forum.

Leading the OMDIA cinema team for over 29 years he set-up the online data and analysis service, Cinema Intelligence, and also developed and broadened the company’s digital cinema activities. He has authored and developed many ground-breaking research reports in a wide range of areas: Digital Cinema, Event Cinema, Screen advertising, Global Cinema Market trends, Growth of Asian cinema, Film production, Cinema technology developments, and the move to Premium Cinema amongst others. In the consultancy field, David specializes in new business models, market sizing and valuation, competitor analysis and benchmarking, strategic roadmaps, due diligence and in-depth market analyses.

He is also a longstanding expert lecturer on cinema markets and market analysis at the UK’s highly regarded National Film and Television School, an industry mentor and a frequent contributor to the trade and general press.