Recorded at the NAB SuperMeet, Las Vegas, April 9, 2013. Watch the brilliant presentation by Stu Maschwitz about Red Giants new tool for digital filmmakers, Bulletproof. Bulletproof is an organizational tool which enables you to ingest and tag media, color correct on-set, and organize your footage to provide a complete solution to getting media ready for the edit. Stu explains from experience the many uses which Bulletproof offers. Described, as the other half of your camera, Bulletproof is currently available to download as part of an open beta program. http://www.redgiant.com/blog/2013/05/21/red-giant-bulletproof-beta-download-it-now-for-free/ BulletProof is a complete media prep and delivery solution for footage that simplifies the tedious tasks facing filmmakers every day on set. Bridging the gap between camera and editor, BulletProof combines all backup, organization, color and delivery tasks while handling footage from multiple cameras and media cards. Whether shooting with a Canon DSLR, Nikon DSLR or GoPro sports cam, filmmakers, videographers and data wranglers can now quickly and easily transform their capture into edit-ready footage. **Stu Maschwitz** Stu Maschwitz is a highly regarded director, writer and visual effects artist based in San Francisco. He has worked as a senior visual effects supervisor on many films. He previously worked at Industrial Light and Magic and also co-founded a company known as The Orphanage. Maschwitz worked as writer, director, cinematographer, and editor for the film The Last Birthday Card (2000). He directed the "Song For The Lonely [Almighty Remix]" segment of The Very Best of Cher: The Video Hits Collection (2004). He studied animation at the California Institute of the Arts. In 2007 he authored the book The DV Rebel's Guide: An All-Digital Approach to Making Killer Action Movies on the Cheap for Peachpit Press. In 2008 he became software director of Red Giant software. In Oct 2009 it was announced in Hollywood reporter that he would direct Psy-Ops. Stu's blog - ProLost - is widely read and influential in the video world. To know more about Stu read ProLost at: http://prolost.com

Lighting cameraman, Pete Burns, explains why he chose the Felloni LED panels and the benefits which this way of lighting brings. Manufactured by Tecpro an distributed by Dedolight, these lights come in different versions, high powered daylight or tungsten, and a bicolour version which enables you to set the colour balance to daylight or tungsten, or any value inbetween. The lights can be powered by mains or battery, and can be run for several hours of uninterrupted operation using V-lock batteries. Various accessories can be added, including: diffuser, grid, and softbox with it's own grid system. Check out Pete Burns blog at: http://burnspete.wordpress.com Check out Pete Burns website at: http://www.peteburns.com/index-02.htm Thanks to the Broadway Cinema Nottingham for letting us film in their wonderful theatre. http://www.broadway.org.uk

Presentation by Scott Ross and Scott Squires live at the NAB SuperMeet, April 9, 2013 This is an important presentation - for those who don't know, the VFX industry is in crisis with many facilities either struggling to make a living or going bankrupt. This is a world-wide industry problem, highlighted by the movie, Life of Pi, which brought in a tremendous profit, yet the VFX company which made the movie possible is now out of business. The State of the VFX Industry is not just about the VFX Industry. It is about us all. Scott Ross and Scott Squires speak about the Past, Present and Future of the VFX Industry and potential solutions to the myriad of problems facing us all. **About Scott Ross** As one of the most notable pioneers in digital media and entertainment, Scott Ross career has been stellar. He founded, along with Hollywood luminaries James Cameron and Stan Winston, Digital Domain, one of the largest digital production studios in the motion picture and advertising industries. Under Ross direction, Digital Domain garnered multiple Academy Award nominations, receiving its first Oscar for the ground breaking visual effects in TITANIC. That success was followed by a second Oscar for WHAT DREAMS MAY COME and a third for THE CURIOUS CASE OF BENJAMIN BUTTON. Digital Domain received additional nominations for TRUE LIES, APOLLO 13 and I, ROBOT and has won four Scientific and Technical Achievement Academy Awards for its proprietary software. For well over a decade Ross oversaw the company that created imagery for movies such as TITANIC, THE FIFTH ELEMENT, APOLLO 13, FIGHT CLUB, TRUE LIES, INTERVIEW WITH THE VAMPIRE, O BROTHER WHERE ART THOU, X-MEN, THE LORD OF THE RINGS, THE DAY AFTER TOMORROW, I, ROBOT and many, many others. Ross has worked with the whos who of film directors such as Cameron, Bay, Fincher, Howard, Scorsese, Coppola, The Coen Brothers, Spielberg, Kurosawa, Jackson, Salles and generally, has nice things to say about them. In 2006 as Digital Domains CEO and Chairman, he successfully sold Digital Domain to director Michael Bay and a group of private equity investors. **About Scott Squires** Scott Squires has a full range of experience working with both traditional and cutting edge digital techniques to create photo real visual effects. His career began with the development of the Cloud Tank Effect for CLOSE ENCOUNTERTS OF THE THRID KIND. His creative and technical problem solving combined with his knowledge and experience has allowed him to achieve the artistic vision of his directors. Squires received Oscar nominations for Best Achievement in Visual Effects for THE MASK, DRAGONHEART and STAR WARS: EPISODE ONE - THE PHANTOM MENACE. He also received a Scientific and Engineering Award from the Academy of Motion Picture Arts and Sciences for his pioneering work in the area of Film Input Scanning. Squires co-founded Dream Quest Images where he was a Visual Effects Supervisor, as well as the companys president for six years. Dream Quest was a leading visual effects facility from 1979-2001 before it was purchased by Disney Studios. After running Dream Quest, Squires was recruited by ILM where he worked as a visual effects supervisor and commercial director for twenty years.