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 Contact