The well shot, edited and mastered image is an endangered species in the digital era. Not in the least because it is constantly prey to a number of foes: the unverified copy process, the uncalibrated display, a friend doing the DCP for free, the anarchic colour space conversions… Ok, let’s put an end to the list here. Reviewing the most common technical mistakes and showcasing digital workflows as a whole and in detail, this interactive “survival guide,” run by luminaries from the post-production and colour grading worlds, provides you with a deeper understanding of the essence of the image and its winding journey to big screens and small displays. Maintaining the highest quality is everyone’s task, so take this opportunity to refresh the technical strategies that will allow you to effectively protect your precious work.
Nicholas Goodwin is head of post-production at Constantin Film. After his university education in Toronto and Munich, he worked in music production and as an assistant sound operator on film sets. In 1996, he joined the AVID department at ARRI as an assistant editor and technical supervisor, later freelancing as a TV and film editor and then as a post-production supervisor. He joined Constantin Film in 2005 as a lead post supervisor on international and German film projects and was then moved to head of post-production.
A colourist and postproduction consultant, Dirk Meier has worked for 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..., Sebastian Lelio’s A FANTASTIC WOMAN and Alice Rohrwacher’s HAPPY AS LAZZARO. He also heads Up.Grade, the world’s first long-term training programme for colour grading, at the DFFB film school in Berlin.
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.