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
Contact