INSIGHT OUT 2009: Day One - DaybyDay ISSN 1860-2967

DaybyDay ISSN 1860-2967 > INSIGHT OUT 2009: Day One
INSIGHT OUT 2009: Day One
Sonnabend 13. Dezember 2008, von Dr. Wolf Siegert (KALENDERDATUM 23. März 2009).
Heute beginnt die INSIGHT OUT - Woche in der HFF Konrad Wolf in Potsdam Babelsberg mit dem
folgenden Hier einzusehenden Programm.
Allerding sind all die hier oben zitierten Links nichts mehr wert, auch die Weiterleitung von der
HFF-Website aus nicht. Stattdessen schaue man bitte direkt nach bei:
- www.insightout-training.net
Zu Beginn des Monats Februar erreichte uns dazu die folgenden Presse-Erklärung:
The future is within our reach: Digital 3D Cinema technology at the 5th "INSIGHT OUT" international
symposium from 23rd to 27th March 2009 at the HFF Film & Television University "Konrad Wolf" in
Potsdam
The conversion of the cinema landscape to digital and 3D technology is in full swing as 3D is to bring
people into the cinemas. This challenge is playing as big a role in advancing the digitalisation process as
the fact that distribution costs can be reduced considerably through the discontinuation of physical film
prints. The trend, which is already a reality in the USA - about 1,000 screens are already in place with the
possibility of playing stereoscopic films - is also coming onto the European market with a few productions.
The Disney production Bolt is also on current release in the German cinemas in a stereoscopic 3D version.
In Europe, selected cinemas are gradually being equipped with digital 3D technology to be able to offer
the cinema-goers the best possible cinema experience. To date, 15 films in the new 3D format are already
scheduled for release in 2009, including potential blockbusters such as Paramount’s Monster vs. Alien,
Disney’s Up, Twentieth Century Fox’s Ice Age 3 and James Cameron’s Avatar.
This year will see the INSIGHT OUT international symposium staying at the vanguard of current
developments in digital production technologies and focussing on the shooting, production and mastering
of stereoscopic 3D movies. It will present the variety of technical possibilities for the production and
creation of stereo 3D films. INSIGHT OUT brings the internationally most renowned personalities
together in Potsdam-Babelsberg with manufacturers, professionals and other interested people.
Stereoscopic supervisor Robert Neuman (Disney Feature Animation) will present his experiences on the
techniques used in the making of "Bolt" during INSIGHT OUT 2009. Steve Schklair, (3ality), who
produced a unique and novel cinema experience with "U2 3D" and subsequently scored a major success
on the European market, is regarded as one one of the world’s leading 3D specialists and a supporter of
the current revival in the production of 3D films. He will talk at INSIGHT OUT 2009 about the "production
of stereoscopic 3D content". Richard Welsh (Dolby Laboratories) will speak in addition about
"postproduction & mastering for stereo 3D releases."
An INSIGHT OUT success story will be presented in the case study about the feature film "Popieluszko"
which has its premiere in Warsaw in February. The screenwriter and director Rafal Wieczynski and
producer Julita Swiercz Wieczynska participated in INSIGHT OUT in 2007 and planned the workflow for
this film on the basis of the information they received at the symposium. The film was shot on 35mm and
later passed through a 4K digital intermediate workflow during postproduction in order to include a large
number of VFX shots, among other things. Rafal and Julita will offer the participants of INSIGHT OUT
2009 an insight into the production process of this major Polish production. The goal of INSIGHT OUT is
to prepare filmmakers for the digital developments and provide them with the tools to be able to decide on
the most suitable digital technology for their next film project. INSIGHT OUT does this by way of practical
exercises with state-of-the-art equipment and lectures by first-class international trainers.
After the hands-on HD Expo was such a great success last year, 2009 will again see workshops being
staged under the motto of "Digital Workflows hands-on" with INSIGHT OUT participants getting an
insight into the complete workflow for digital filming and postproduction - from high-end cinema to stereo
3D and HDTV series production. On Thursday, March 26th, 2009, the INSIGHT OUT workshops will be
open to the regional film and television industry.
The training programme INSIGHT OUT is aimed at decision-makers from the film, TV and media industry
as well as producers, line producers and unit managers, cinematographers, postproduction experts, media
academics, as well as journalists and film school teachers.
The trainers of the INSIGHT OUT / HFF Academy include Claudia Meglin (VFX for Tropic Thunder,
Changeling), Mike Inchalik (Lowry Digital), Joe Lewis (Motion Control for King Kong, Lord of the Rings)
Jonathan Renouf (producer), and Keith Partridge (DoP) for the BBC HDTV series Earth - Power of the
Planet, Martin Steyer (vice-president and sound engineer for Resident Evil 1, The Last King of Scotland).
INSIGHT OUT is held at the HFF Film & Television University "Konrad Wolf" in Potsdam. Prof. Martin
Steyer serves as the programme director and the event is organised by the HFF’s Institut für mediale
Forschung which is headed by Prof. Dr. Kerstin Stutterheim. The EU supports INSIGHT OUT through the
MEDIA Programme. The partners for the international HFF Academy INSIGHT OUT are Medienboard
Berlin Brandenburg GmbH, the European Broadcasting Union and Camelot Broadcast Services. Leading
companies could be won as sponsors.
The Film & Television University (HFF) "Konrad Wolf" is the oldest and largest training institution of its
kind in Germany with its 550 students in 11 courses of studies. The artistic and practical training is
conducted on the highest level thanks to the latest technology and experienced teaching staff - intensive
contacts link the HFF on a national and international level with numerous academies, universitiies and
research institutions in the field of film and television.
In einer weiteren Aussendung, den Insightout-Training-News=18&cHash=ad54a3610e] ist zu lesen:
The Third Dimension of Digital Cinema
2009 is viewed by many as the year that could bring the break through for stereo 3D. 15 movies have
been scheduled for release this year, including potential blockbusters such as Paramount’s Monster vs.
Alien, Disney’s Up, Twentieth Century’s Ice Age 3 and most notably James Cameron’s Avatar. Always
being at the vanguard of developments in digital production technologies, the production of stereoscopic
3D movies is at the centre this year’s INSIGHT OUT lecture programme.
We are delighted that the following renowned experts have agreed to share their knowledge with our
participants of how to get the third dimension into the movies.
Robert Neuman, stereoscopic supervisor with Disney Feature Animation, will present a start-to-finish case
study for Bolt. The lecture delves into the principles that apply to live action and animated 3D films alike.
It will highlight how the added dimension of 3D depth can be integrated into the filmmaking process as a
creative element. The aesthetics and comfort factors associated with stereoscopic 3D will be discussed, as
well as the techniques and production pipeline used in making the film.
Steve Schklair, founder of 3ality, is considered to be one of the leading specialists on stereo 3D production.
3ality were one of the producers of the critically acclaimed U2 3D. In his lecture, he will talk about the
shooting and post-production of live action in stereo 3D, using one of his recent projects as a case study.
The presentation of 3D digital images imposes new challenges for mastering and distribution of Digital
Cinema content. Richard Welsh from Dolby Laboratories Inc. discusses some of these challenges based on
an overview of the availble theatrical 3D presentation systems. The focus of his lecture will be
requirements for the mastering process of 3D content, 3D subtitling, and the opportunities to use
theatrical 3D presentation systems for non-feature content such as life transmission, games, and
interactive entertainment.
A joint lecture by the PRIME research consortium will offer a glimpse into the future of 3D production,
such as panoramic 3D installations.
Und hier "last but by all means not least", das Programm des ersten Tages:
Overview on Digital Film
- Claudia Meglin [1], Mark Read [2]
The first part of this lecture will give an overview about digital formats, recording and presentation
technologies and of the current production chain in the digital film industry.
The second part will offer an introduction of the different types of digital workflows currently employed.
Genau die Richtigen, um dem interessierten Publikum mit seinen sehr unterschiedlichen Hintergründen
einen Einblick in die aktuelle Produktionspraxis zu ermöglichen, in der sich jede(r) von ihnen in der einen
oder anderen Darstellung wiederfinden wird.
Auch wenn es in einer Intro-Veranstaltung nicht möglich ist, ins Detail zu gehen, so wurde doch aus der
Vielzahl und Vielfalt der eigenen Produktionserfahrungen deutlich, mit wie vielen neuen
Herausforderungen die digitale Filmproduktion zu tun haben wird.
Aus der Vielzahl der Arrangements und Systeme, die jeweils ihre spezifischen Stärken und Schwächen
haben, werden markante Besonderheiten herausgestellt und kommentiert. Doch darüber hinaus gibt es
offensichtlich einige "basic learnings" wie diese:
- "Tape" als Trägermedium ist auch heute noch nicht tot: auch wenn man das Signal möglicherweise
gleich auf Platte aufzeichnet oder auf einer Flash-Card. Tape bleibt wichtig als Speicherungs und
Sicherungsmedium. Und sei es, wie eine Frage belegt, weil die Versicherungsgesellschaften ein solches
Medium als Voraussetzung vorschreiben, um überhaupt als Partner in die Produktion mit einzusteigen.
- Wenn man sich einmal für ein System, für eine bestimmte Produktionsweise entschlossen hat, muss man
sich damit auch für die ganze Zeit der Produktion eingelassen haben.
- Auch "RAW" ist nicht gleich "RAW": die Frage nach den Formaten ist und bleibt nach wie vor eine
entscheidende. Und dabei ist hier noch nicht einmal von den verschiedenen darauf aufbauenden
Komprimierungsfragen die Rede.
- Nichts ist wichtiger - neben Budget und Drehbuch - als die Planungsphase der Produktion und die damit
im Zusammenhang stehenden Entscheidungen. Je besser und präziser diese fixiert sind, desto eher kann
mit dem Umbill der täglichen Widernisse fertig werden.
14:45 4K Digital Intermediate
Case Study: Popieluszko (PL) Featurefilm for Cinema
Director Rafal Wieczynski, Producer Julita Swiercz Wieczynska, Andrzej Sablinski (post), Jakub Knapik
(VFX)
The Polish production Popieluszko will be a case study at INSIGHT OUT 2009. Director Rafal Wieczynski,
Producer Julita Swiercz Wieczynska and Director of Photography Grzegorz Kedzierski came to IO 2007 to
receive advise about the workflow most suitable for their next film. Based on the information they
received at INSIGHT OUT, they decided on shooting Popieluszko on 35mm, followed by a scan at 4K
resolution at The Chimney Pot Warszaw. All colour-correction and visual effects were carried out using
the digital intermediate.
The film tells the true story of Polish priest Father Jerzy Popieluszko, from the early years of his childhood
in the Polish province until his development into a hero during the period of martial law. Father
Popieluszko was a charismatic priest who was first sent to strikers in the Warsaw Steelworks. He became
actively engaged with the workers and the Solidarity movement and thanks to their broadcast via Radio
Free Europe, his sermons became famous for their stance against the communist regime. In 1984, he was
murdered by the communist internal intelligence agency. Interwoven into the film is original footage from
the period, which together with numerous crowd scenes vividly depict the atmosphere of the exceptional
situation in the 1980s in Poland.
Besonders beeindruckend an dieser "Geschichte": die Präsentatoren war vor zwei Jahren selber
Teilnehmer an der Insight Out - Veranstaltung und berichten, dass sie damals sehr von den hier
vermittelten Erfahrungen haben profitiern können.
Und aus der Vielzahl der Beispiele und Post-Produktionsberichten sei nur ein Satz herausgegriffen, der
auch im nachfolgenden Beitrag nochmals zum Tragen kommen wird: "Die Special Effect" waren so gut,
dass sie in der Presse überhaupt nicht bemerkt worden sind.
© all rights reserved
© all rights reserved
Spannend: wird diese in zwei Teilen animierte Gesichtspartie bleiben - oder nicht. Die Macher waren
mehrheitlich dafür, die Produktion dagegen: Also mussten alle diese "Gesichtsstreifen" herausanimiert
und -gerechnet werden.
© all rights reserved
So etwas war noch nicht zuvor gesehen worden: "echter Nebel". [4]
© all rights reserved
Das aus Sicht des Berichteerstatters Wichtigste aber war das von ihm zitierte "’How deep do you want the
Real Estate to be’ - Statement", das für die zukünftige Gestaltung von 3-D-Filmen von ausschlaggebender
Bedeutung sein wird. Wie Brian mit Rückgriff auf seine US-Kollegen konstatiert [5], würden die Leute
alsbald aus dem Kino laufen, wenn der gesamte Film immer nur in dem gleichen 3D-Raum operieren
würde. Vielmehr habe man die ersten zwanzig Minuten so gestaltet, dass man die Szenenerie eher "flat"
eingespielt habe mit nur wenigen Elementen, die die Zuschauer daran erinnern, dass sie in einem 3D-Film
sind. Erst als die Protagonistin durch einen Tunnel die Welt hinter der versteckten Tür betritt entfaltet die
Darstellung ihre volle Pracht: in verstärkten Farben, einen dynamischeren Klang und: vollem 3D-Modus:
die Gestaltung dieses neuen Raumes müsse man einsetzen wie Musik, so Brians Credo.
Hören Sie ihm selbst einen Moment zu [6]
The "Real Estate"-Statement
© all rights reserved
Anmerkungen
[1] VFX, IMAGE and SOUND SUPERVISOR is a well known expert in Production & PostProduction;
advising Film Production Clients and Solution Providers alike, for almost 2 decades. She has been
working as Visual Effects Art Director for many international film & HDTV productions and has gained
an excellent reputation for her instructional work at workshops, conferences, seminars and film schools.
Among her credits for VFX work are Tropic Thunder, Changeling, Flags of our Fathers and as DI
consultant she has advised the production of Captain Abu Raed among many others.
[2] Mark is a well known expert in Production & PostProduction; advising Film Production Clients and
Solution Providers alike, for almost 2 decades. His works spans a broad range of areas from
colour-grading to digital workflow design, VFX, look and sound design and many more. To list just a
few of his film credits: Captian Abu Raed, The Chronicles of Narnia: Voyage of the Dawn Treader,
Changeling and Tropic Thunder
[3] Following a passion for cinematography, art, engineering and stroytelling, Brian Van’t Hul has had
the opportunity to do various jobs in the film industry covering Miniature, Liveaction and Digital
lighting, Visual Effects Supervising, Location Plate Photography and 2nd Unit Directing. Before
supervising the visual effects on Coraline, films he’s worked on have included Nightmare Before
Christmas, Forrest Gump, all 3 Lord of the Rings Films, Master and Commander, I Robot and King
Kong which he recieved a Bafta and also an Oscar for Best Visual Effects in 2006.
[4] Und genauso beeindruckend: die von Armstrong "wie echt" animierte Kaminfeuer-Sequenz.
[5] Er bezieht sich hier namentlich auf die Ratschäge des zu jener Zeit noch bei Disney beschäftigten
Kollegen Phil McNally - dieser Mann spricht dem Berichterstatter aus der Seele.
Dazu fehlte jetzt nur noch eine Lektuere von Kleist über das Marionettentheater und die Veranstaltung
wäre perfekt... WS.
[6] wobei die Aufnahme mit einer handelsüblichen Mini-DV-Handcamera ohne externem Mikro aus der
hintersten Reihe gemacht wurde... WS.