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 2015
Participants’ Projects (original plans & general recommendations)
The projects were pitched by 7 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 [PDF]
Director / Producer /
Cinematographer | Unai Aranzadi, Independent Docs, Spain |
| Title | PRIME TIME COUP |
| Director | Unai Aranzadi |
| DoP | Unai Aranzadi |
| Estimated Length of the film | 52mn for TV, 70mn for festivals & VOD |
| Genre | Documentary |
| Budget | 30.400€ |
| Co-production country | Honduras |
| Camera | DSLR Panasonic Lumix G4, High Definition (CANON C300, SONY PMW-F5 / F3,SONY PXW-FS7 |
| Aspect ratio | Anamorphic 2,35 and simple HD 16/9 for TV |
| Number of persons in the shooting crew | 2 |
| Number of shooting weeks | 3 trips of 2 weeks, already shot. |
| Shooting location | Honduras |
| Tests planned ? | Yes. Light, Sound, Workflow |
| Recording media | Memory cards, Tapes |
| Dailies checked ? | On set, In post-production |
| VFX planned ? | No |
| Post-production Approach | With a post-production provider |
| Post-production workflow | HD |
| Length of post-production phase | 12 weeks |
| Main distribution channel | TV, Internet, VOD, Blu-Ray |
| Territories | National, International |
| Delivery medium | 2K DCP, Blu Ray/DVD, HD Broadcaster master |
| DPC Experts main comments & recommendations | Crowfunding for production & post-production. Identify NGOs to help building an audience, groups interested in South American politics. |
| Director / Co-Producer | Gintautas Dailyda, Seansas Film, Lithuania |
| Title | THE PARISIENNE |
| Director | Gintautas Dailyda |
| DoP | TBD |
| Estimated length of the film | 120mn |
| Genre | Fiction |
| Budget | 1,6M€ |
| Co-producers | Zivile Gallego (Lithuania), French (tbc) |
| Several cameras? | Yes |
| Cameras | Hybrid: 35 mm 4 perfs & 4K digital cameras 2.35. Multiple cameras shooting. Arri-Alexa, RED, BLACK MAGIC, DSLR CANON or SONY. some historical scenes could be in 16 or even in VHS to obtain the stilistic atmosphere of 1990’s. |
| Aspect ratio | Anamorphic 2,35 |
| Number of persons in the shooting crew | Around 30/40 |
| Number of shooting weeks | 4-5, in 2017 |
| Shooting locations | Lithuania, some (maybe) in Paris |
| Multi track sound recording | Yes |
| Tests planned ? | Yes. Actors, Make-up, Digital cameras, Light, Special effects, Visual effects |
| Recording media | Hard disk |
| Dailies checked ? | In rental house |
| VFX planned ? | Yes |
| Who is in charge of long term archiving for final back up? | DOP |
| Post-production planned with | a post-production provider |
| Post-production workflow | 2K |
| Length of post-production phase | 8 weeks |
| Main distribution channels | VoD, Mobile devices, Internet, TV, Theatre |
| Territories | International, National |
| Delivery medium | HD Broadcast master, Blu-ray/DVD, 2K DCP, 4K DCP |
| DPC Experts main comments & recommendations | Evaluate 35mm 2 perfs, consider Super 16mm, evaluate shooting ratio.The DOP has to be chosen ASAP. |
| Director / Producers | Ashley Pegg, director, UK
Inesa Ivanova & Gabija Budreckyte, KINOMIND, Lithuania |
| Title | LUNAR |
| Director | Ashley Pegg |
| DoP | Ricky Morgade |
| Estimated length of the film | 90mn |
| Genre | Fiction |
| Shooting Location | UK |
| Budget | 207.000€ |
| Several cameras | No |
| Cameras | Our first choice/suggestion for ideal camera would be the Arri Amira |
| Aspect ratio | 16:9 (1.77:1) |
| Number of persons in the shooting crew | 25 |
| Number of shooting weeks | 3 weeks, May-September 2016 |
| Multi track sound recording | Yes |
| Tests planned? | Yes. Actors, Digital cameras, Light |
| Who is in charge of long term archiving for final back-up ? | Producer |
| Dailies checked ? | On set |
| Recording media | Hard disk |
| VFX planned ? | No |
| Post-production planned with | a post-production provider |
| Post-production manager planned ? | Yes |
| Post-production workflow | HD |
| Length of post-production phase | 6-9 months |
| Main distribution channels | VoD, TV, Theatre |
| Territories | International, National |
| Delivery medium | Blu-ray/DVD, DCP |
| Promotion strategy involving social networks? | Yes |
| DPC Experts main comments & recommendations | We discussed 2 concepts of micro-budget-production, we recommend due to the content, "to buy" as much shooting-time as possible. Instead of shooting in 18 days, the consistency of the acting should be the first goal above everything. But then everthing else has to be secondary. This kind of budget needs a very close co-operation betwenn producer and director, as all creative decisions will influence immediately the budget and vice versa. |
| Director/Producer | Andrius Lekavicius, UAB Prime Field, Lithuania |
| Title | BLURRED BORDER |
| Director | Andrius Lekavicius |
| Length of the film | 4x15mn |
| Genre | Documentary, Webdocumentary |
| Budget | 125.000€ |
| DoP | Adomas Jablonskis |
| Co-producer | Kiril Krasovskyi / Faktura film, Germany |
| Several Cameras | No |
| Cameras | RED Epic 1,85 Black Magic 4K- To create customized Look/Luts or use camera standard ones |
| Aspect ratio | 1.85 |
| Number of persons in the shooting crew | 4 |
| Number of shooting weeks | 5 weeks, October 2015 / September 2016 |
| Shooting location | Curonion Spit (Lithuania & Kaliningrad, Russia) |
| Multi track sound recording | Yes |
| Tests planned ? | Yes. Digital cameras, Light |
| Media recording | Hard disk, Memory cards |
| Who is in charge of the long term archiving for final back up? | The editor |
| Dailies checked ? | On set |
| VFX planned ? | No |
| Post-production planned with | A post-production provider |
| Post-production manager planned? | No |
| Post-production workflow | HD • 2K • 4K |
| Length of post-production phase | 2 months |
| Main Distribution channels | Internet |
| Territories | International, national |
| Delivery medium | 2K DCP, HD Broadcast master |
| Promotion strategy involving social networks? | Yes |
| DPC Experts comments & recommendations | - Have a robust camera
- You can buy the camera C300
- MAKE TESTS WITH LARGE SCREENINGS VIEWING
- You can reproduce vintage tests with Tiffen DFx V4 pluggin
- On line editing
|
| Producer | Lukas Trimonis, In Script, Lithuania |
| Title | MIRACLE |
| Director | Egle Vertelyte |
| DoP | Emil Hristow |
| Estimated length of the film | 90mn |
| Genre | Fiction, genre/period-film project |
| Budget | 650.000€ |
| Several cameras | No |
| Cameras | The director is currently discussing the visualisation of the film, henceforth we are not sure which camera we shall be using. Our DoP is very experienced and because we need to recreate 'period' of 1990's the solution on camera choice hasn't been made yet. |
| Aspect ratio | 4:3 with expansion to 2,35 (Anamorphic) |
| Number of persons in the shooting crew | 25 |
| Shooting Locations | Bulgaria, Poland |
| Number of shooting weeks | 5 weeks, May-September 2016 |
| Multi track sound recording | Yes |
| Tests planned? | Yes. Actors, Make-up, Workflow |
| Who is in charge of long term archiving for final back-up ? | Digital Technician in co-operation with post-supervisor and post facility |
| Dailies checked ? | On set, In rental house.by Director, DoP, Producers |
| Recording media | Hard disk |
| VFX planned ? | No |
| Post-production planned with | a post-production provider |
| Post-production manager planned ? | Yes |
| Post-production workflow | HD |
| Length of post-production phase | 6 months |
| Main distribution channels | VoD, TV, Theatre |
| Territories | International, National |
| Delivery medium | 4K DCP |
| Promotion strategy involving social networks? | Yes |
| DPC Experts main comments & recommendations | - Choose the most flexible camera or check with the post with which camera they are comfortable
- Consider mobile lab which include rushes/editing
|
| Producer | Akvile Zilionyte, Film Studio KOPA, Lithuania |
| Title | PETRIFIED TIME |
| Director | Saulius Beržinis |
| DoPs | Kristina Sereikaite, Titas Satkūnas |
| Estimated length of the film | 52mn |
| Genre | Documentary |
| Budget | 75.470€ |
| Several cameras | No |
| Cameras | 35 mm 2 perfs
Canon 5Dmark 2 body/ Panasonic GH4 |
| Aspect ratio | 4:3 with expansion to 2,35 (Anamorphic) |
| Number of persons in the shooting crew | 25 |
| Shooting Locations | Lithuania |
| Number of shooting weeks | 10 weeks, 2016 |
| Multi track sound recording | Yes |
| Tests planned? | Yes. Digital cameras, Sound |
| Dailies checked ? | On set. |
| Recording media | Hard disk |
| VFX planned ? | No |
| Post-production planned with | a post-production provider |
| Post-production manager planned ? | No |
| Post-production workflow | HD |
| Length of post-production phase | 16 weeks |
| Main distribution channels | VoD, TV, Theatre, |
| Territories | International, National |
| Delivery medium | HD Broadcast master |
| Promotion strategy involving social networks? | Yes |
| DPC Experts main comments & recommendations | Establish strong links with people in post. Budget, financing and progress of production are in good sync and as a distributor is attached, the film seems to be in good shape.
Reference frames for lab |
| Producer | Giovanna Bongiorno, Akeydo, Italy |
| Title | PATH |
| Director | Egle Vertelyte |
| DoP | Emil Hristow |
| Estimated length of the film | 80mn |
| Genre | Animation |
| Budget | 650.000€ |
| Several cameras | No |
| Cameras | The director is currently discussing the visualisation of the film, henceforth we are not sure which camera we shall be using. Our DoP is very experienced and because we need to recreate 'period' of 1990's the solution on camera choice hasn't been made yet. |
| Aspect ratio | 1,85 |
| Number of persons in the shooting crew | 30 |
| Shooting Locations | Italy & TBC |
| Number of shooting weeks | 4 months, 2017 |
| Multi track sound recording | No |
| Tests planned? | Yes. Special effects, Visual effects |
| Who is in charge of long term archiving for final back-up ? | production manager |
| Dailies checked ? | Yes, in post production |
| Recording media | Hard disk |
| VFX planned ? | Yes |
| Post-production planned with | a post-production provider |
| Post-production manager planned ? | No |
| Post-production workflow | UHD (Ultra HD/QHD) |
| Length of post-production phase | 6 months |
| Main distribution channels | VoD, TV, Theatre |
| Territories | International, National |
| Delivery medium | 4K DCP |
| Promotion strategy involving social networks? | Yes |
| DPC Experts main comments & recommendations | Early stage of development: - Characterisation
- Animatic
- Director to be choosen
- Do you have the right of the illustrations?
- For the children audience the film must match artistically with the book
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The Making-of 2015
The Making-of 2013
The Making-of 2012
The Making-of 2011
The Making-of 2010
The Making-of 2009
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