28.11.2018 - 01.12.2018 - Digital Production Challenge II

Digital Production Challenge II
The Digital Era: An ever-shifting landscape

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 personalised 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 further information and application
digiprodchallenge.net

Participants
European and international professionals. Priority is given to producers, line producers, production managers and postproduction managers. However, directors and cinematographers are also welcome. All applicants must have professional experience in producing feature and/or documentary films.
Date and venue Wednesday 28 November to Saturday 1 December 2018, in Southern Europe (city tbc)
Registration deadline 26 September 2018 on digiprodchallenge.net
Fee 450 € with a project / 350 € without project, including 3.5 day full board and accommodation. Travel costs are not incl.
Language English

MAIN EXPERTS
Philippe Ros, France
Director of photography and digital imaging supervisor. An expert in hand-held cameras, ergonomic issues, all digital shooting systems and the post-production workflows linked to them. OCEANS (Jacques Perrin and Jacques Cluzaud), HOME (Yann Arthus-Bertrand). For television: cinematographer of the first five seasons of the series KAAMELOTT (Alexandre Astier)…

Tommaso Vergallo, France
Post-production expert for Noir Lumière and key account manager for Leica Cine Lenses at CW Sonderoptic. Worked as a production and postproduction manager in digital labs ( Swiss Effects, Duboi, Quinta Industries…) AMELIE FROM MONTMARTRE (Jean-Pierre Jeunet), A BROTHERHOOD OF WOLVES (Christophe Gans), HOME (Yann Arthus-Bertrand), LOVE (Michael Haneke), RUST & BONE (Jacques Audiard), ON THE ROAD (Walter Salles) …

Florian Rettich, Germany
Workflow supervisor, HD supervisor and DIT since the start of Digital Cinematography; universal specialist for almost any kind of digital acquisition technology and workflow. Senior trainer and consultant for Digital Workflow Solutions at ARRI. PINA, EVERYTHING WILL BE FINE (Wim Wenders), DIE VERMESSUNG DER WELT (3D, Detlev Buck), HIGHLANDERTHE SOURCE (Brett Leonard) …

Martin Hagemann, Germany
Producer, Zero Fiction Film; THE TURIN HORSE (Béla Tarr), THE CHILDREN OF HUANG SHI (Roger Spottiswoode), FAY GRIM AND FLIRT (Hal Hartley), FATHER AND SON (Aleksandr Sokurov) …

COORDINATION AND ORGANISATION
Sophie Bourdon (project manager), Paul Miller (head of studies)
Participants
European and international professionals. Priority is given to producers, line producers, production managers and postproduction managers. However, directors and cinematographers are also welcome. All applicants must have professional experience in producing feature and/or documentary films.