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 2014
Participants’ Projects (original plans & general recommendations)
The projects were pitched by 4 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. Three specific moments were scheduled in the programme to further discuss the projects’ workflows and challenges, in group and plenary sessions.
For detailed recommendations and workflows, see the Participants’ Projects Workflows slides.
| Post-production Coordinator | Sead Imamovic, Rohfilm GmbH, Germany |
| Title | DEAD SEA |
| Director | Hagar Ben Asher |
| DoP | TBD |
| Estimated Length of the film | 100mn |
| Genre | Fiction |
| Budget | 1.276.243€ |
| Co-producers | Cinema Group (Israel), Les Films du Poisson (France) |
| Camera | ARRI Alexa 65 |
| Aspect ratio | 1.85 |
| Several cameras | No |
| Number of persons in the shooting crew | 30 |
| Number of shooting weeks | 5 weeks |
| Shooting location | Israel & France |
| Tests planned? | Yes. Actors, Film stocks, Digital cameras, Light |
| Recording media | Memory cards |
| Dailies checked ? | On set |
| VFX planned? | Yes |
| Who is in charge of long term archiving for final back up? | Not decided yet |
| Post-production Approach | With a post-production provider |
| Post-production workflow | HD |
| Length of post-production phase | 7 months |
| Main distribution channel | Theatre |
| Territories | International |
| Delivery medium | 2K DCP, Blu Ray/DVD, HD Broadcaster master |
| Promotion strategy involving social networks? | No |
| DPC Experts main comments & recommendations | Based on the project & shooting approach, choice to be made in terms of camera: ARRI Alexa or Alexa XT with open gate Lenses issues (aspect ratio to be redesigned in calculation in POST). Instead of HD, go for 2K or Confo 4K workflow with Back up BUT with 2K ready. Budget the delivery list. |
| Producer | Paulo Leite, Bad Behavior, Portugal |
| Title | THROUGH THE EYES OF A CHILD |
| Director | João Alves |
| DoP | TBD |
| Estimated length of the film | 100mn & 24 webisodes (max 5mn each) |
| Genre | Fiction (horror), Transmedia |
| Budget | 990.000€ |
| Co-producing country | Brazil |
| Several cameras? | No |
| Cameras | Preference for SONY FS700. But other possible options: SONY F55 Raw Recording 4K/2K, RED Epic-Red Epic Dragon, SONY PXW-FS70. |
| Aspect ratio | Anamorphic 2,35 |
| Number of persons in the shooting crew | Around 20 |
| Number of shooting weeks | 5 (fiction) + 2 (webisodes) |
| Shooting locations | Lisbon or Rio de Janeiro |
| Multi track sound recording | No |
| Tests planned? | Yes. Actors, Light, Digital cameras, Sound workflow, Visual effects |
| Recording media | memory cards |
| Dailies checked? | On set, by someone from image dpt |
| VFX planned? | Yes |
| Who is in charge of long term archiving for final back up? | Production/post-production Supervisor |
| Post-production planned with | a hybrid system |
| Post-production manager planned? | Yes, hired from pre-production |
| Post-production workflow | 4K |
| Length of post-production phase | 5 months |
| Main distribution channels | Theatre, Internet, Mobile devices, VoD |
| Territories | International, National |
| Delivery medium | 4K DCP |
| Promotion strategy involving social networks? | Yes |
| DPC Experts main comments & recommendations | Choice to be made between following cameras: SONY F55 Raw recording 4K/2K, SONY F700 (with 4K ext. recording modules), RED Epic, Dragon RED, SONY PXW-FS7. D:I: Confo 4K Workflow with Back up BUT 2K ready. Go for 2K DCP (vs. 4K), preparation for a future 4K DCP. Tight global estimate, deliverables should be budgeted. |
| Executive Producer & Post-production Manager | Juan Lesta, Esfeborite Production, Spain |
| Title | VERSOGRAMAS |
| Directors | Juan Lesta & Belén Montero |
| DoP | Ricky Morgade |
| Estimated length of the film | 70mn |
| Genre | Documentary, experimental feature, with animation & archive material. Transmedia project |
| Shooting locations | Spain |
| Budget | 134.674€ |
| Several cameras | Yes |
| Cameras | Choice to be done between BLACK MAGICcamera 2,5K and DSLR CANON 1C-1D-5D-7D |
| Aspect ratio | 16:9 |
| Number of persons in the shooting crew | 15 for 2 days, a smaller team for the rest. |
| Number of shooting weeks | 4 (2 + 2) |
| Multi track sound recording | No |
| Tests planned? | Yes. Actors, Make-up, Light, Digital cameras, visual effects. |
| Who is in charge of long term archiving for final back-up? | Producer |
| Dailies checked? | On set by team. |
| Recording media | memory cards |
| VFX planned? | Yes |
| Post-production planned with | A home-made system |
| Post-production manager planned? | No |
| Post-production workflow | HD |
| Length of post-production phase | 2 months |
| Main distribution channels | VoD, Internet, TV, Theatre, Museums |
| Territories | International, National |
| Delivery medium | 2K DCP, Blu-Ray, DVD, HD Broadcaster master |
| Promotion strategy involving social networks? | Yes |
| DPC Experts main comments & recommendations | Necessity to check several, important points: all contracts with museums and various distributors, what is available on the shelves (in terms of cameras) which is light, cheap and can provide the minimum quality requirements, hiring a production manager asap before taking any key decisions and to possibly revise budget which is low. Regarding D.I: go for 2K vs. HD. The emphasis should be put on post-production: recommendation of a Grading System (Resolve) 6 to 8 w/o grading. |
| Co-director | Marc Serena, Doble Banda, Spain |
| Title | TCHINDAS, LITTLE BRAZIL |
| Directors | Marc Serena & Pablo Garcia de Lara |
| Length of the film | 110mn (film), 52mn (TV) |
| Genre | Documentary |
| Budget | 120.125€ |
| DoP | Pablo Garcia de Lara |
| Several Cameras | No |
| Cameras | 1,78 – single camera. Panasonix Lumix GH3 |
| Aspect ratio | 16:9 |
| Number of persons in the shooting crew | 2 |
| Number of shooting weeks | 5 weeks |
| Shooting location | Cape Verde |
| Multi track sound recording | Yes |
| Tests planned? | Yes. Light, Sound, digital cameras. |
| Media recording | Hard disk |
| Who is in charge of the long term archiving for final back up? | The editor |
| Dailies checked? | Yes, on set & rental house by the editor |
| VFX planned? | No |
| Post-production planned with | A home-made system |
| Post-production manager planned? | No |
| Post-production workflow | HD |
| Length of post-production phase | 1-2 years |
| Main Distribution channels | TV, Internet, film festivals |
| Territories | International |
| Delivery medium | HD Broadcast Master |
| Promotion strategy involving social networks? | Yes |
| DPC Experts comments & recommendations | Good camera choice but go for 2K D.I. vs HD. And thus in terms of delivery material a 2K DCP HDCam SR Broadcast Master. Budget is coherent. |
The Making-of 2014
The Making-of 2013
The Making-of 2012
The Making-of 2011
The Making-of 2010
The Making-of 2009
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