Bad workflow renders filmmaking clumsy and costly. Good workflow saves time and money, leading to a better end product. DPC II focuses solely on the latter.
At DPC II our approach is hands-on, offering participants personalized expertise to overcome the real-time challenges they are encountering on the projects they have brought to the workshop.
We also offer technical solutions via intriguing case studies, expert panel discussions and group sessions to overcome workflow dilemmas. So even if you don't attend the workshop with a project, you will leave primed with the skills and tools to manage future workflow.
We explain the step-by-step process of decision-making within post-production, guiding participants in terms of materials delivery and media archiving.
Preparing for eventual distribution is essential to the filmmaking process. DPC II will therefore enable you to make the correct production choices, such as camera hardware, to suit the distribution strategy you wish, whether theatrical, broadcast or internet-based.
The best planned ‹post› starts in ‹prep›!
For more details and registration → digiprodchallenge.net
"DPC II amazingly fulfilled my expectations and even more; I indeed not only benefited on the technical aspects, the digital wording I can now use knowing what it means (at last!), a methodology to better approach my future productions but also, feeling more confident, I have gained in freedom and creativity as a producer. I can dare actively discussing some key choices regarding the digital workflow with the crew members and the post house, which has improved the communication between us and teamwork. Last but not least, I must confess I have the feeling to better control the whole pre/production/post-production process and the cost of the films I produce."
Lithuanian Producer, Vilnius
Philippe Ros, France
DoP and Digital imaging supervisor. An expert in hand-held camera and ergonomics issues, he is familiar with all digital shooting systems and the post-production workflows linked to them. OCEANS by Jacques Perrin and Jacques Cluzaud, HOME by Yann Arthus-Bertrand. For television: cinematographer of the first five seasons of the series KAAMELOTT, directed by Alexandre Astier.
Tommaso Vergallo, France
Post-production expert for Noir Lumière and key account manager for Leica Cine Lenses at CW Sonderoptic. Twenty-years' experence working as production and postproduction manager in digital laboratories like Swiss Effects, Duboi, Quinta Industries Digimage Cinema. AMÉLIE FROM MONTMARTRE by Jean-Pierre Jeunet, HOME by Yann Arthus-Bertrand, LOVE by Michael Haneke, RUST & BONE by Jacques Audiard, ON THE ROAD by Walter Salles, etc.
Florian Rettich, Germany
Workflow supervisor, HD supervisor and DIT (bvk) since the start of Digital Cinematography all over Europe and well known as a universal specialist for almost any kind of digital acquisition technology and digital workflow. He is also Senior Trainer and Consultant for Digital Workflow Solutions at ARRI. PINA, EVERY THING WILL BE FINE by Wim Wenders, DIE VERMESSUNG DER WELT (3d) by Detlev Buck, HIGHLANDER - THE SOURCE by Brett Leonard, etc.
Martin Hagemann, Germany
Producer, zero fiction film. THE TURIN HORSE by Béla Tarr, THE CHILDREN OF HUANG SHI by Roger Spottiswoode, FAY GRIMM and FLIRT by Hal Hartley, MOLOCH and FATHER AND SON by Aleksandr Sokurov, etc.
Coordination and Organization
Sophie Bourdon, Project Manager;
Paul Miller, Head of Studies
