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
→ Applying for Digital Production Challenge II
The Making-of 2012
Participants’ Projects (original plans)
The projects were pitched by 10 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 | Olga Bieniek, Filmicon, Poland |
| Title | The Butler |
| Director | Piotr Trzaskalski |
| DoP | Piotr Sliskowski |
| Length of the film | 120mn |
| Genre | Fiction, period film |
| Budget | 2.140.000€ |
| Camera | ARRI Alexa Raw recording and SxS, RED MX ?, RED Epic |
| several cameras? | Yes |
| Post-prod/Colour correction | 4K |
| Number of persons in the shooting crew | 70-80 |
| Number of shooting weeks | 7 weeks |
| Shooting location | Poland |
| tests planned | Yes. Actors, Make-up, Digital cameras, Costumes |
| Tapeless recording | Yes |
| Dailies checked? | On set (set manager) |
| VFX planned | Yes, many of them. |
| Postproduction planned with | a post-production provider. |
| Post workflow | Digital intermediate (D.I.), 4K DI |
| Because of | Digital acquisition, colour grading possibilities, easier integration of VFX |
| Length of postproduction phase | Around 5-6 months |
| Distribution channel | Theatre, TV, Internet |
| Territories | National, International |
| Delivery medium | 4K DCP, Blu-Ray/DVD |
| promotion strategy involving social networks? | Yes |
| Production Manager | Matteo Bussoli, Les Incompétents, France/Italy |
| Title | THE HEART OF BEASTS |
| Director | Simone Scafidi |
| DoP | Shortlist in progress |
| Length of the film | 90mn |
| Genre | Fiction – horror/thriller |
| Budget | 355.300€ |
| Camera | RED Epic, Phantom Flex (but the choice is not definitive) |
| several cameras? | No |
| Aspect ratio | 1,78 |
| Number of persons in the shooting crew | Around 20 |
| Number of shooting weeks | 4 |
| Shooting locations | North, Italy, Switzerland, France |
| Multi track recording | No |
| tests planned | Actors, Make-up, Hair, Costume, Light, Sound, Digital cameras, Special effects |
| Tapeless recording | Yes |
| Who is in charge of the data management? | Not decided yet. |
| Dailies checked | On set, by editor/post-production manager (tbc) |
| VFX planned | No |
| Postproduction planned with | A hybrid system (post prod covered by a lab – contribution in kind) |
| Postproduction manager planned | Yes, with an editor/post-production manager |
| Post workflow | HD DI because of digital acquisition and colour grading possibilities |
| Length of postproduction phase | 4 months |
| Distribution channel | Theatre, Internet |
| Territories | International |
| Delivery medium | 2K DCP, Bly-ray/DVD |
| promotion strategy involving social networks? | Yes |
| Post-Production Manager | André Fetzer, Amour Fou, Luxembourg/Austria |
| Title | FIEBER |
| Directors | Elfi Mikesch |
| DoP | Jerzy Palacz |
| Length of the film | 95mn |
| Genre | Fiction |
| Shooting locations | Luxembourg, Austria, Serbia, Hungary |
| Budget | 3.184.000€ |
| Camera | RED Epic (better than RED One) or ARRI Alexa RAW |
| Several cameras | No |
| Aspect ratio | 1,85 |
| Post-prod colour correction | 2K |
| Number of persons in the shooting crew | 30 |
| Number of shooting weeks | 6 |
| Multi track recording | No |
| tests planned | Digital cameras |
| tapeless recording | Yes |
| Who is in charge of the data management | Data wrangler or DIT |
| Dailies checked | In post-production |
| VFX planned | No |
| Postproduction planned with | A hybrid system |
| Postproduction manager planned | Yes from the beginning (before shooting) |
| Post workflow | Digital intermediate (D.I.) |
| Because of | Digital acquisition |
| Length of postproduction phase | 4-6 months |
| Distribution channel | Theatre |
| Territories | International |
| Delivery medium | 2K DCP |
| promotion strategy involving social networks? | Yes |
|
| Producer | Alexandra Georgi, Android Dreams Film, Germany |
| Title | N.O.F. a Network of Friends |
| Director | Matthias Kollek |
| Length of the film | 90 min |
| Genre | Documentary |
| Budget | 359.645€ |
| Camera | CANON C 300 |
| Several cameras | Yes |
| Aspect ratio | 1,85 |
| Post-Prod colour corrections | 2K |
| Number of shooting weeks | 4 weeks |
| Shooting location | Europe |
| Multi track recording | No |
| tests planned | Actors, Sound, Digital cameras, Film Stocks, Workflow |
| Tapeless recording | No |
| Who is in charge of the data management | DIT |
| Dailies checked | Yes on set |
| by | DoP and Director |
| VFX planned | Yes |
| Postproduction planned with | hybrid system |
| Postproduction manager planned | Yes from a very early stage |
| Post workflow | analog |
| Length of postproduction phase | 3 to 5 months |
| Main Distribution channel | Theatre, TV, Internet, Mobile devices |
| Territories | International |
| Delivery medium | 35mm print, 4K DCP, Blu-ray/DVD, Broadcast Master |
| promotion strategy involving social networks? | Yes |
| Producer | Zdenka Gold, Spiritus Movens, Croatia |
| Title | A LITTLE DUST |
| Director | NA |
| Length of the film | 90mn |
| Genre | Cross-media project, fiction/documentary/animation/drama |
| Budget | 1.600.000€ |
| Camera | ARRI Alexa RAW |
| several cameras? | No |
| Aspect ratio | 1,66 |
| Number of persons in the shooting crew | 35 |
| Number of shooting weeks | 4-5 weeks |
| Multi track recording | Yes |
| tests planned | Actors, Make-up, Hair, Costume, Film stocks, Digital cameras, animation |
| tapeless recording | Yes |
| Who is in charge of the data management | DIT |
| Dailies checked | On set & in post-production |
| by | DIT and editor assistant |
| VFX planned | No |
| Post-production planned with | A post-production provider |
| Postproduction manager planned | Yes but there isn’t any specialised post-production manager in Croatia. |
| Post workflow | 2K Digital intermediate (D.I.) |
| Because of | Digital acquisition, Budget reasons and easier integration of animated parts |
| Length of postproduction phase | 6-8 months |
| Distribution channel | Theatre, TV, festivals |
| Territories | International |
| Delivery medium | 2K DCP, Broadcast Master |
| promotion strategy involving social networks? | Yes |
| Producer | Peter Krupenin, Hob AB, Sweden |
| Title | BUNCH OF LINGONBERRIES |
| Director | Lena Koppel |
| Length of the film | 100 mn |
| Genre | Fiction |
| Budget | 2.000.000€ |
| Camera | ARRI Alexa . SxS recording, RED – helicopter in New York |
| Several cameras? | Yes |
| Aspect ratio | 1,85 |
| Post-prod colour corrections | 2K |
| Number of persons in the shooting crew | 25 |
| Number of shooting weeks | 7 |
| Shooting locations | Hudiksvakk, Stockholm (Sweden) and New-York (USA) |
| Multi track recording | Yes |
| tests planned | None |
| Tapeless recording | Yes |
| Who is in charge of the data management | DIT |
| Dailies checked | Yes, on set |
| VFX planned | No |
| Post-production planned with | With a post-production provider |
| Postproduction manager planned | Yes |
| Post workflow | 2K Digital intermediate (D.I.) |
| Because of | Digital acquisition, colour grading possibilities, easier integration of visual effects |
| Length of postproduction phase | 5-6 months |
| Distribution channel | Theatre |
| Territories | National |
| Delivery medium | 2K DCP, Blu-ray/DVD, Broadast Master |
| promotion strategy involving social networks? | Yes |
| Producer | Boris Missirkov, AGITPRO, Bulgaria |
| Title | PALACE FOR THE PEOPLE |
| Director | Marion Hänsel |
| Length of the film | 7 x 52mn |
| Genre | TV series, documentary |
| Budget | 486.595€ |
| Camera | RED Epic, SONY PMW-EX3 / EXI, DSLR CANON 1D C – 1D – 5D - 7D, Phantom Flex, hybrid film/digital. GoPro Hero 3 |
| several cameras? | Yes |
| Aspect ratio | 1,66 |
| Post-prod colour corrections | 2K |
| Number of persons in the shooting crew | 6-8 |
| Number of shooting weeks | 21 |
| Shooting Locations | Bulgaria, Germany, Russia, Latvia, Serbia, Poland, Romania. |
| Tests planned | Light, Sound, Special effects, Digital cameras, Workflow |
| Tapeless recording | Yes, for size and manoeuvrability reasons |
| Who is in charge of the data management | A dedicated person at the production company |
| Dailies checked | On set by DoP and executive producer |
| VFX planned | yes |
| Postproduction planned with | A hybrid system. Editing and initial colour will be done at the in-house facility. |
| Postproduction manager planned | No |
| Post workflow | Digital intermediate (D.I.) |
| Because of | Colour grading possibilities |
| Length of postproduction phase | 9-12 months |
| Distribution channel | Theatre, TV, Internet, Mobile Devices |
| Territories | National, International |
| Delivery medium | 2K DCP, Blu-Ray/DVD, Broadcast Master |
| promotion strategy involving social networks? | Yes, strongly. |
| Producer | Manu Rewal, Karma Productions, France |
| Title | RAMU & JULIETTE |
| Length of the film | 100 mn |
| Genre | Fiction, satirical romantic comedy |
| Budget | 2,600.000€ |
| several cameras? | Yes |
| Number of shooting weeks | 8 weeks |
| Shooting Locations | Delhi/India and Paris/France |
| Multi-track sound recording | Yes |
| Tests planned | Film stocks, Digital cameras, Special and Visual effects, Lab and Workflow |
| Dailies checked | Yes, on set and in post-production by the assistant camaran |
| VFX planned | Yes |
| Postproduction planned with | A post-production manager. |
| Post workflow | 2K Digital intermediate (D.I.) |
| Because of | Digital acquisition, Colour grading possibilities, easier integration of visual effects |
| Length of postproduction phase | 4 to 5 months |
| Distribution channel | Theatre, TV, Internet, Mobile devices, DVD. |
| Territories | International |
| Delivery medium | 35mm print, 2K DCP, Blu-ray/DVD, Broadcast master |
| promotion strategy involving social networks? | Yes |
| Producer & Post-Production Manager | Margherita Solenghi, GIFFI SAS, Italy |
| Title | TRIO: Monthy Python made in Italy |
| Director | Guido Fiandra |
| Length of the film | 90mn |
| Genre | Documentary on comedians |
| Budget | 104.773€ |
| Camera | DSLR CANON 1D C – 1D – 5D – 7D |
| several cameras | yes |
| Aspect ratio | 2,35 Super 35mm |
| Number of persons in the shooting crew | 9 |
| Number of shooting weeks | 3 |
| Shooting locations | Italy and UK |
| Multi track recording | Yes |
| tests planned | digital cameras |
| Tapeless recording | No |
| Who is in charge of the data management | DIT |
| Dailies checked | Yes, on set |
| VFX planned | Yes |
| Postproduction planned with | A post-production provider |
| Postproduction manager planned | Yes |
| Post Workflow | 2K D.I. |
| Because of | Colour grading possibilities and easier integration of visual effects |
| Length of postproduction phase | 6 to 7 weeks |
| Distribution channel | Theatre, TV, Internet, Mobile devices, festivals |
| Territories | National, International |
| Delivery medium | 2K DCP, Blu-Ray/DVD |
| Production & Post-Production Manager | Dominika Zurawska-Padée, Vision House, Poland |
| Title | ECO REPORTER |
| Director | Krzysztof Dzieciolowski, Lukasz Bluszcz |
| Length of the film | 20 x 15mn |
| Genre | TV serie on ecology |
| Budget | 127.050€ |
| Camera | SONY PMW-EX3 / EX1 |
| several cameras | No |
| Aspect ratio | Anamorphic 2,35 |
| Number of persons in the shooting crew | 4 |
| Number of shooting weeks | 50 days |
| Shooting location | Poland |
| Multi track recording | No |
| Who is in charge of the data management | Production, post-production manager |
| Dailies checked | On set, in post-production |
| by | DoP, Director, Producer |
| VFX planned | No |
| 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 | ? |
| Length of postproduction phase | 2 weeks |
| Distribution channel | TV, Internet |
| Territories | National |
| Delivery medium | Broadcast master |
The Making-of 2012
The Making-of 2014
The Making-of 2013
The Making-of 2011
The Making-of 2010
The Making-of 2009
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