The Programme
The Participants & «What they say about it»
The Benefits
The Extra Zing
The Experts
The English – German – French Digital Cinema Glossary
The Links
The Partners
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The Making-of 2014
The Making-of 2013
The Making-of 2012
Participants’ Projects
The projects were pitched by 9 of the participants (5mn each): short synopsis, production, technical aspects and challenges. At the end of each presentation, the experts and tutors made comments on the production and post-production plans and identified some key issues to be developed during the workshop. Two specific moments were scheduled in the programme to further discuss the projects’ workflows and challenges.
| Producer | Ieva Buzinskaite, PI Filmuva, Lithuania |
| Title | beard |
| Short synopsis | Fairy tale of modern jokes
In the city of Vilnius infused with contemporary magic, miraculous kiosks work 24/7, nocturnal butterflies dance in the lamplight, and the beardless programmer Domas struggles through his daily life while sharing it with his wild and extravagant twin, the sailor Dymon.
Meanwhile, the philosophically inclined cat Mephistopheles not only comments on the situation, but also provides his share of good advice. |
| Director | Jonas Trukanas |
| DoP | Ronaldas Buozis |
| Length of the film | 30mn (short) |
| Genre | Fiction, modern fairy tale |
| Budget | 72.000€ |
| Camera | RED One MX, RED Epic (economic choice) |
| several cameras? | No |
| Aspect ratio | 1,66 ? 1,85 seems more appropriate |
| Post-prod/Colour correction | 2K |
| Number of persons in the shooting crew | 60-70 |
| Number of shooting weeks | 2 weeks |
| Multi track recording? | No |
| tests planned | Yes. Actors, Make-up, Digital cameras, Light, Sound, Workflow |
| Tapeless recording | Yes |
| Who is in charge of the data management ? | By the post-production manager + assistant |
| Dailies checked ? | On set, in post |
| VFX planned | possibly |
| Postproduction planned with | a post-production provider. A post-production manager hired from the beginning too. |
| Post workflow | Digital intermediate (D.I.) |
| Because of | Digital acquisition and colour grading possibilities |
| Length of postproduction phase | Around 2-3 months |
| Distribution channel | Theatre, TV, Internet |
| Territories | National, International |
| Delivery medium | DCP (would be best), Blu-Ray/DVD, Broadcast master |
| promotion strategy involving social networks? | Yes |
| Producer | Viktor Perdula, JewelLabs Pictures, Austria along with his Production/post-production manager, Tini Wider. |
| Title | captured |
| Short synopsis | A young photographer is haunted by nightmares who unveil just bits and pieces of what he actually remembers. Being out of business for quite a long time, he is hired for a shooting. He finds himself in an old wine cellar alone with a mysterious woman. When the woman disappears and he is searching for her through the cellar, he does not realise that something is watching him and controlling him. Slowly, he is conducted to uncover the traces of a dark secret. But what he finds is more than he can bear … |
| Director | Michael Rottmann |
| DoP | Alexander Haspel |
| Length of the film | 20mn (short) |
| Genre | Fiction – mystery / horror |
| Film stocks | Redcam or ARRI D21 |
| Camera | ARRI D21 or RED One MX |
| several cameras? | No |
| Aspect ratio | 1,85 |
| Post-prod colour correction | 2k |
| Number of persons in the shooting crew | Around 25 (tbc) |
| Number of shooting weeks | 2 |
| Multi track recording | Yes |
| tests planned | Make-up, Visual effects |
| Tapeless recording | Yes, because of the camera system |
| Who is in charge of the data management? | By the digital image technician on set and by the Producer/PM during post-prod |
| Dailies checked | On set,by director, 1st AD, DoP |
| VFX planned | Yes |
| Postproduction planned with | « homemade » system |
| Postproduction manager planned | No, PM=PPM |
| Post workflow | Analog post-production |
| Length of postproduction phase | 3 months |
| Distribution channel | Festivals, TV, Internet |
| Territories | International |
| Delivery medium | 35mm, Blu ray/DVD if financially possible |
| promotion strategy involving social networks? | Yes |
| Production Manager | Laura Jimenez Almendros, Spain |
| Title | the great devil dance |
| Synopsis | In the race for the conquest of America, gold, land and weaponry were not the only claims. Adding souls to the “Grace of God“ was a priority for the Spanish Crown. But for their evangelization mission, communication with indigenous people was a problem. Pantomine became the solution. Over the years, mimes got more complex. This is how “The Great Evil Dance“ was born. |
| Directors | Faustino Gonzalez, Fernando Martinez and Octavi Masia |
| DoP | Octavi Masia |
| Length of the film | 90mn |
| Genre | Documentary |
| Shooting locations | Spain, Panama and Bolivia |
| Budget | 270.000€ |
| Camera | DSLR Canon D5 and D7 (for economic reasons, also good image quality & handy) |
| Several cameras | Yes |
| Aspect ratio | 1,85 |
| Post-prod colour correction | 2K |
| Number of persons in the shooting crew | 8 |
| Number of shooting weeks | 8 |
| Multi track recording | Yes |
| tests planned | Light, sound, digital cameras, Workflow |
| tapeless recording | Yes because quicker, direct access to material, cheaper |
| Who is in charge of the data management | A data manager or loader |
| Dailies checked | On set and during post-production |
| by | the editor |
| VFX planned | No |
| Postproduction planned with | A post-production provider, it will be more professional |
| Postproduction manager planned | Yes from the editing |
| Post workflow | Digital intermediate (D.I.) |
| Because of | Digital acquisition, Colour grading possibilities |
| Length of postproduction phase | 4 months |
| Distribution channel | Theatre, TV, Internet |
| Territories | International |
| Delivery medium | DCP, Blu-Ray/DVD, Broadcaster master |
| promotion strategy involving social networks? | Yes |
| Producer | Christian Fredrik Martin, Friland Production, Norway along with with his line-producer Therese Bohn and his post-production manager Mats Andersen |
| Title | pioneer |
| Short synopsis | The year is 1981. Deep-sea diver Peder and his brother Knut join an elite diving unit involved in Deep Excursion, an experiment set up to investigate the viability of oil production at extreme depths in the North Sea. Their aim is to prove that man can work at 500 meters. In the final test dive, Knut dies on what should be a routine job. Some of the other divers develop symptoms of epilepsy. Ravaged by sorrow after losing his brother, Peder is fired from the program. He tries to find out what happened to Knut and the other divers, straying into a menacing labyrinth of corruption, murder and scientific rivalry, the dark side of petroleum production. As Peder gets closer to the truth about what happened to his brother, he confronts powers far greater than himself. He must decide: Should he reveal the truth, or would he rather survive? |
| Director | Erik Skjoldbjaerg |
| Length of the film | 100 min |
| Genre | Fiction, Conspiracy thriller |
| Budget | 5,3 Mio€ |
| Co-productions | Germany, France and Sweden |
| Film stocks | 35mm 3 perfs |
| Camera | ARRI ALEXA |
| Several cameras | Yes. We plan to use a digital format (ARRI Alexa). 35mm is only an option for the underwater scenes and if there is no other alternative |
| Aspect ratio | 2,35 – Super 35mm |
| Post-Prod colour corrections | 2K |
| Number of shooting weeks | 9 to 10 weeks including significant shooting underwater |
| Multi track recording | Yes |
| tests planned | Actors, Make-up, Digital cameras, Special and Visual effects, Lab, workflow |
| Tapeless recording | Yes to save time from shooting to delivery to editing |
| Who is in charge of the data management | DIT |
| Dailies checked | Yes on set |
| by | DIT |
| VFX planned | Yes |
| Postproduction planned with | « homemade » system |
| Postproduction manager planned | Yes |
| Post workflow | Digital intermediate (D.I.) |
| Because of | Colour grading possibilities, Easier integration of visual effects |
| Length of postproduction phase | 8 months including editing |
| Main Distribution channel | Theatre |
| Territories | National, International |
| Delivery medium | 35mm print, DCP, Blu-ray/DVD, Broadcast Master |
| promotion strategy involving social networks? | Yes |
| Line producer and Post-production managers | Lina Pedersen and Anja Kristiansen, Paradox, Norway |
| Title | the pornographer |
| Synopsis | Henry photographs prostitutes at the brothel of Madame Schloss in Christiania during the 1850‘s. The daguerreotype is a sensational new invention and Madame Schloss can sell the images to her clients and make sky-high profits. The story begins when Henry’s little brother dies. At the funeral back home in the mining community, the mine guard asks him for a favour. The man wants a photograph of something very special. Something very few people know of and even fewer have seen, a strange creature who appears to be a young adult, female with a brother growing out of her back! |
| Director | Erik Poppe |
| Length of the film | 115mn |
| Genre | Fiction |
| Budget | 5,8 Mio€ |
| Film stocks | 35mm 3 perfs |
| Camera | ARRI ALEXA |
| several cameras? | yes |
| Number of persons in the shooting crew | 40 |
| Number of shooting weeks | 10 |
| Multi track recording | Yes |
| tests planned | Actors, Make-up, Film stocks, special 6 visual effects, Lab, Workflow |
| tapeless recording | Yes |
| Who is in charge of the data management | DIT |
| Dailies checked | On set |
| by | DIT |
| VFX planned | Yes |
| Post-production planned with | A post-production provider |
| Postproduction manager planned | yes, from pre-production stage because of the complexity of the project and the amount of visual effects |
| Post workflow | Digital intermediate (D.I.) |
| Because of | Digital acquisition, Colour grading possibilities and easier integration of visual effects |
| Length of postproduction phase | 1 year |
| Distribution channel | Theatre, TV |
| Territories | National, International |
| Delivery medium | 35mm print, DCP, Blu-Ray/DVD, Broadcast Master |
| promotion strategy involving social networks? | Yes |
| Producer | Marc Pascher, Art Castel GmbH, Germany |
| Title | the taste of the rainforest |
| Synopsis | Every year in July, the Chicleros, men whose task is to harvest the liquid latex from the Chicozapote trees, move through the jungle of Mexico. By cooking the sap of the trees above fire, envolves the substance Chicle - from which the first chewing gum on earth was produced. Five years ago they founded the Consorio Chiclero, an association of 2000 mexican farmers, who produce an end-product on the spot out off Chicle: Chicza, the first 100% biological chewing gum in the world. Through the creation of their own exclusive brand, the Chicleros are able to preserve their home range – the rainforest – for following generations and continue their traditional work. |
| Length of the film | 95 mn |
| Genre | Documentary |
| Budget | 130.000 |
| Camera | SONY F3 + AJA KI PRO (easy to transport 6 handle and includes option for 4:2:2 scanning) and maybe the Canon D5 |
| Several cameras ? | Yes |
| Aspect ratio | 1,66 |
| Post-prod colour corrections | 2K |
| Number of persons in the shooting crew | 6 |
| Number of shooting weeks | 7 in Mexico |
| Multi track recording | No |
| tests planned | Digital Cameras, visual effects |
| Tapeless recording | Yes, AJA, 4:2:2 |
| Who is in charge of the data management | The camera assistant |
| Dailies checked | On set |
| VFX planned | No |
| Post-production planned with | With a post-production provider, also in-house / in company options |
| Postproduction manager planned | No |
| Post workflow | Digital intermediate (D.I.) |
| Because of | Digital acquisition and colour grading possibilities |
| Length of postproduction phase | 2 months |
| Distribution channel | Theatre, TV |
| Territories | National |
| Delivery medium | Blu-ray/DVD, Broadast Master |
| promotion strategy involving social networks? | Yes |
| Line Producer | Monique Marnette, Man’s Films Productions, Belgium |
| Title | tenderness |
| Short synopsis | A couple, separated for the past 15 years, find themselves together again for the duration of a two day journey to go and get their son, hospitalized in another country after a serious ski accident. What do they still feel for one another, indifference, rancor, jealousy? Or perhaps complicity, friendship and, who knows, love. This light-hearted road movie, which takes us from Brussels to the summit of the Alps, will allow us to discover two profoundly sincere beings for whom we can only feel affection. |
| Director | Marion Hänsel |
| Length of the film | Around 90mn |
| Genre | Fiction, a roadmovie from Belgium to the French Alps … and back. |
| Budget | 2,8 Mio€ |
| Film stocks | 35mm 3 perfs |
| Camera | Aaton Penelope. We’ve already shot with this camera, the director likes it and the cost difference with digital cameras does not make sense to us. |
| several cameras? | No |
| Aspect ratio | Anamorphic 2,35 |
| Post-prod colour corrections | 2K |
| Number of persons in the shooting crew | Around 30 |
| Number of shooting weeks | 8 |
| Tests planned | Make-up, Film stocks, Workflow |
| VFX planned | no |
| Postproduction planned with | A post-production provider |
| Postproduction manager planned | Yes, the line-producer will also have this responsibility. |
| Post workflow | Digital intermediate (D.I.) |
| Because of | Colour grading possibilities |
| Length of postproduction phase | 6 months |
| Distribution channel | Theatre, TV |
| Territories | International |
| Delivery medium | DCP, Broadcast Master |
| promotion strategy involving social networks? | yes |
| Producers | Marina Gumzi, Nosorogi, Zavod za kulturno dejavnost, Slovenia and Jonathan Rubin, Les Films en haut d’un arbre, France |
| Title | velendol |
| Synopsis | Loosely based on Chekhov’s novel My Life, Velendol traces a journey of a young man in discovering the origins and values of things. Memories, imagination and dreams compose a narration in which the past, the present and the future meet mirroring each other. Present Slovenia, a small provincial town on the Slovenian-Italian border: PAVEL, a young man in his mid-twenties, a son of a wealthy local architect, refuses to continue his life as it is and decides to find a new job as a physical worker on construction sites. This radical change provokes astonishment and disapproval among his acquaintances. His father is furious and, as a result, Pavel has to move out of the family house. |
| Director | Gregor Bozic |
| Length of the film | 120 mn |
| Genre | Fiction |
| Budget | 1,3 Mio € |
| Film stocks | 35 mm 3 perfs |
| several cameras? | No |
| Aspect ratio | Full frame 3-perf (1,79) to 1,66 for film print and 1,78 for TV master |
| Number of persons in the shooting crew | 10 to 20 |
| Number of shooting weeks | 8 weeks |
| Multi-track sound recording | Yes |
| Tests planned | Actors, Film stocks, Light, Sound, Lab and Workflow |
| VFX planned | No |
| Postproduction planned with | With a hybrid system. Editing on a digital non linear editing system done in house. The rest with a post-production provider. |
| Post workflow | Digital intermediate (D.I.) |
| Because of | Colour grading possibilities, to better exploit the super 35mm 3 perf possibilities, rather than working with the optical process |
| Length of postproduction phase | 3 months |
| Distribution channel | Theatre, TV |
| Territories | International |
| Delivery medium | 35mm print, DCP, Blu.ray/DVD, Broadcast master |
| promotion strategy involving social networks? | No |
| Producer | Ashley Horner, Pinball Films, UK |
| Title | whorses |
| Synopsis | WHORSES is a supernatural romance that follows Lettice, a teenage shaman with a terrible secret, as he attempts to escape from Tin Town. Held back by his dying father and burgeoning love for local beauty Lily, Lettice is haunted by a mythical beast that stalks the community. When Lettice believes the beast has taken Lily he has only one choice left to make in his short life. The beast must die. |
| Director | Sean Conway |
| Length of the film | 93mn |
| Genre | Fiction |
| Budget | 720.000€ |
| Camera | ARRI ALEXA, RED One MX |
| several cameras | yes |
| Aspect ratio | Anamorphic 2,35 |
| Post-prod colour corrections | 2K |
| Number of persons in the shooting crew | 35 |
| Number of shooting weeks | 5 |
| Multi track recording | No |
| tests planned | digital cameras and special effects |
| Tapeless recording | Yes |
| Who is in charge of the data management | DIT |
| Dailies checked | On set |
| by | Editor |
| VFX planned | Yes |
| Postproduction planned with | A hybrid system. Cut on a homemade FCP system, then grading and effects at a post-house once the picture is locked. |
| Postproduction manager planned | No |
| Post Workflow | D.I. |
| Because of | Digital acquisition, Colour grading possibilities |
| Length of postproduction phase | 15 to 18 weeks |
| Distribution channel | Theatre, Internet |
| Territories | International |
| Delivery medium | DCP |
The Making-of 2011
The Making-of 2010
The Making-of 2009
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