The Survival Guide to Digital Workflows
The Survival Guide to Digital Workflows
- Date
- Feb 15th 2016
- With
- Roy Andersson, Gergely Pálos, Niko Remus, Dirk Meier
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.
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.
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
Niko Remus is a German post-production supervisor and workflow consultant working on international co-productions. His projects include Semih Kaplanoglu’s BAL, Margarethe von Trotta’s HANNAH ARENDT, Jim Jarmusch’s ONLY LOVERS LEFT ALIVE, Roy Andersson’s A PIGEON SAT ON A BRANCH… and Bille August’s ELEANOR AND COLETTE. He is part of the European post-production workshop Amsterdam Post Lab, works as a trainer for the TorinoFilmLab and in Rotterdam, and lectures at different film schools.
Dirk Meier
A freelance colourist, postproduction consultant and lecturer for over 20 years, Dirk Meier has worked on films such as Lars von Trier’s "Antichrist", Sebastian Lelio’s "A Fantastic Woman", Alice Rohrwacher’s "Happy as Lazzaro", and recently on “The Secret Agent” by Kleber Mendonça Filho. He was head of Up.Grade, the world’s first long-term educational programme for colour grading and continues to teach at various international film schools.
© Edmond Laccon