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The Survival Guide to Digital Workflows

15.02.2016 - Roy Andersson, Dirk Meier, Gergely Pálos, Niko Remus

    Both big and small budget-productions struggle to keep up with changing technologies and the multitude of digital workflows. This year’s session takes as a case study Roy Andersson’s 2014 Venice Golden Lion winner A Pigeon Sat on a Branch Reflecting on Existence, which required a special focus on the production and post-production workflow. One of the two DOPs of the film, Gergely Pálos (Berlinale Talents 2011), joins post-production supervisor Niko Remus and colorist Dirk Meier to recount their experiences on the film. The team discusses the implications of shooting with one camera and prime lens over four years, lighting and exposure for a Red camera, on-set monitoring, matte painting, delivering VFX shots for grading, deliverables and archiving. Director Roy Andersson joins later in the session for a Q&A.



    Experts

    Roy Andersson


    photo of Roy Andersson
    Swedish writer, director, producer and editor. His 1970 debut feature A SWEDISH LOVE STORY won four awards at the Berlinale. After many award-winning advertising films, he returned in 2000 with SONGS FROM THE SECOND FLOOR, which won the jury Prize in Cannes, and in 2007 with YOU THE LIVING. His latest work, which ended this trilogy, A PIGEON SAT ON A BRANCH REFLECTING ON EXISTENCE won the Golden Lion in Venice in 2014 and the Best Comedy prize at the European Film Awards.


    Dirk Meier


    photo of Dirk Meier
    A colourist and postproduction consultant, Dirk Meier is an expert on colour management and digital film postproduction. He has worked for German and international companies such as The Post Republic, ARRI and Zentropa, and on films such as Lars von Trier’s ANTICHRIST, Roy Andersson’s A PIGEON SAT ON A BRANCH... and Anton Corbijn’s LIFE. He also heads the world’s first long-term training programme for colour grading, Up.Grade, at the DFFB in Berlin.


    Gergely Pálos


    photo of Gergely Pálos
    Cinematographer living in Stockholm. He’s studied cinematography at the University of Drama and Film in Budapest, Hungary. His work as cinematographer includes Roy Andersson’s A PIGEON SAT ON A BRANCH REFLECTING ON EXISTENCE, which premiered at the Venice Film Festival 2014 where it was awarded the Golden Lion for Best Film. He has worked on several short films, documentaries and another feature film, ONE DAY OF BETTY.


    Niko Remus


    photo of Niko Remus
    German post-production supervisor and workflow consultant. He works on international co-productions – mainly features, but also documentary films for cinema release. His projects include Semih Kaplanoğlu’s BAL, Margarethe von Trotta's HANNAH ARENDT, Jim Jarmusch's ONLY LOVERS LEFT ALIVE and Roy Andersson's A PIGEON SAT ON A BRANCH REFLECTING ON EXISTENCE. He is part of the European Post Production Workshop EP2C since its founding year 2010, a trainer at the FrameWork workshop at the Torino Film Lab and gives lectures at different film schools.