Understanding and handling the workflow is one of crucial elements in digital film production today. With changing and evolving technology, it is important to keep up to date and comprehend how the stages of pre-production, production, post production and archiving are connected.

The aim of these plenaries is to give the participants an overview of the process to understand the different steps to have an eye-level discussion with everybody in post production.

The series of plenaries is divided into 4 parts.


DIGITAL WORKFLOWS  1 - From Shoot to Post                                                      

Niko Remus, Germany

„The post starts before the shoot“ has become a standard phrase at the workshop. In this plenary Niko Remus will go through the process, starting in pre-production when the format is decided and the camera is chosen, going through the process of tests, shooting, backups, offline-rushes, editing, all the way into image- and sound-post. At the end of the plenary is a practical checklist for shooting digitally.


DIGITAL WORKFLOWS  2 - The 35mm Print is History / creating a DCP and a DCDM    

Neeltje van der Heijden, The Netherlands

The DCP has been a standard for cinema projection ever since 35mm prints declined. But how does a DCP really work and what do you need to make one?

Neeltje van der Heijden will go through the steps of making a DCP and how to fit together all the elements. Encryption will be covered, as well as handling different playlists and subtitles within a DCP. In addition, the main delivery element in today’s world for mastering and archiving will be explained: the DCDM.


DIGITAL WORKFLOWS  3 - Delivering your Deliverables                            

Neeltje van der Heijden, The Netherlands

Organizing deliverables for a digital project, especially in a co-production, is one of the most challenging tasks when completing a film. The numerous formats and ever increasing demands from world sales and distributors are adding to the complexity.

Neeltje van der Heijden will go through the different elements and will depict which materials you really need and what you might want to negotiate out of your delivery schedule.


DIGITAL WORKFLOWS  4  -  Future Proof Archiving of Digital Film                   

Gilles Bissot, Belgium

In the era of 35mm projection we automatically created a master that could be archived. A film print or an Internegative / Interpositive would be good for centuries after the initial release of the film. Since the decline of 35mm film distribution, we are also lacking the most important way of saving our films for the long term. In the digital era we have lots of files on many different hard drives - but nobody knows how long the drives will work and when they will fail.

Gilles Bissot will go through a strategy of what to archive and how to safe it. He will explain the differences between a „Library“ and an „Archive“ and introduce the different types of media that are viable for archiving.

Archiving films is not just a requirement by funds and world sales. It also means protecting a valuable asset for future sales for every producer and rights holder.


ARCHIVE AND BRAND CLEARANCES                                     

Pierre-Emmanuel Mouthuy, Belgium

Clearing all rights related to your footage is a basic element when completing and delivering a film. But when you are using footage that you have not created yourself or use brand names in a particular context, how do you do it? If a world sales is attached to a project, the questions of territories and time are added and can make some clearances quite complicated.

Pierre-Emmanuel Mouthuy deals with these questions as a lawyer on a daily basis. And he will share some examples at the workshop.

The session will be a Round-Table-Plenary. After a brief introduction we will go around in a circle for everybody to ask questions. 


MDM FILM FUND  -  Introducing the Region     

Dana Messerschmidt (MDM) and Konstanze Wendt (MDM Film Commission Service)

The EP2C is a European workshop with the aim of focussing on a different country and a specific region each year, thus highlighting the qualities and unique features that every region has to offer.

Dana Messerschmidt and Konstanze Wendt will introduce us to this part of Germany, the production and post production opportunities, as well as the film funding and the co-production possibilities.

The MDM (Mitteldeutsche Medienförderung) covers the regions of Saxony, Saxony-Anhalt and Thuringia and is a supporter of the EP2C 2016 workshop.



Hans van Helden, The Netherlands

When do you need green screen and when do you better do without? What does it actually mean when a VFX-supervisor talks about modeling, rigging, texturing and lighting? And when they say that they need to „roto“ that, what do they mean? Why do you need a 3D model for an object in a film that is not in 3D?

In this plenary Hans van Helden will go through the basic techniques of visual effects work and explain the terms that everybody likes to be familiar with when dealing with films in post production. He will show examples from real projects and give valuable advice on planning and budgeting VFX.


WORLD SALES                                                                                                                

Didar Domehri, France

Getting a world sales into the financing structure of any film is a ‚must have‘ for co-productions. Preparing materials and pitching projects to world sales is a common practice for every producer. But what is a world sales looking for, how do they select project and how do they think?

Didar Domehri has worked for 8 years as Head of Sales for Films Distribution before setting up her own production company Maneki Films and the label Full House in Paris. From knowing both sides of the table - formerly as Head of Sales and as a producer now - Didar will share some of her insights on how the world sales work and how to best approach them.


MUSIC SUPERVISION                                                                                                       

Milena Fessmann, Germany

Clearing music rights, getting recording and publishing rights are the basics to the trade. But what else should a good music supervisor do?

Milena Fessmann will go through the questions of when to start with the search for the right music for a film, how to find and approach the rights holder and how to negotiate a good deal for all rights related to music.


VISIT to MMZ (Mitteldeutsches Multimediazentrum Halle)

Part of the workshop is to visit some of the facilities in the region hosting the workshop. The MMZ is a centre of creative work, with office space and studio facilities, giving room to a great variety of film and media companies. We will visit the mixing stage, equipped with the latest Dolby-Atmos technology and the cinema grading suite, equipped with the latest 4K technology. Within the MMZ we will have these plenaries:


SOUND WORKFLOW: A CASE STUDY ON „KHIBULA“                       

Kai Tebbel, Germany

Going from production sound all the way to the final mix and the sound deliverables is a long journey, filled with many challenges. „Khibula“ was a co-production involving 4 countries and the sound workflow also involved 4 countries. To make things even more interesting, the film has been shot on 35mm film.

Kai Tebbel completed the mix of „Khibula“ just recently at this stage at the MMZ. He will go through the different steps of the sound workflow by giving samples from the film, right in the mix.


4K-Grading, HDR and FUTURE TECHNOLOGIES                   

Max Seefried, ARRI Media, Germany

The name ARRI is known throughout the world as a camera and lighting manufacturer. ARRI Media is one of the bigger labs in Germany, handling all areas of post production.

In this plenary Max Seefried from ARRI Media will show us the 4K grading suite and elaborate on High Dynamic Range (HDR) and other future technologies. He will also give advice on how and what to store to be ready for a re-mastering in a technology that might not be available yet, but will be in the near future.

After this plenary we will hear from ARRI Rental about the latest development in cameras with a short demo.


On Friday, October 28th, 2016 the workshop will be open to local professionals to visit the workshop. Upon prior registration they can see all plenaries marked with a star*.


POST SUPERVISION *                                                                                                      

Niko Remus, Germany

With the transition from film to digital being complete now, the tasks and challenges of handling films digitally have changed. And it is not only the way we handle the workflow, but also how we deal with our decisions in a surrounding of ever increasing speed of machines and vastly increasing options.

Niko Remus will give an overview of the tasks of a post supervisor and give an outlook on where film production is going in terms of formats and increased VFX part in storytelling.


VFX - CASE STUDIES *                                                                                                         

Hans van Helden, The Netherlands and Julien Meesters, France

„There are no films without VFX anymore“ (Hans van Helden). And they seem to be increasing from project to project. Whether it is a bigger budget production or a smaller arthouse film, incorporating VFX into the making of the film has become very common.

The two VFX-Supervisors at the workshop, Hans van Helden and Julien Meesters, will give various examples of how they handled the VFX side on their projects and show, what a difference it makes when you include the VFX department early on.


BEING A PRODUCER *                                                                                   

Katriel Schory, Israel Film Fund

Katriel Schory has been a producer for many years before becoming the head of the Israel Film Fund. In this plenary he will speak about the different kinds of producers and how they approach projects. His talks are always filled with real stories from his vast experience, as a producer but also as a film fund director.

One of his main concerns today is creative discipline in a world of making films digitally. He will expand on that and he will explain why „every film is a prototype“.