Am Mittwoch, den 17. Februar 2010, wurde zur Ankündigung der gestern begonnenden Veranstaltung der folgende Text über "Das Handwerk der Zukunft" zur Publikation bereitgestellt:
- Das Handwerk der Zukunft - Digitale Filmproduktion und stereo 3D auf dem internationalen Symposium INSIGHT OUT vom 22. bis 26. März 2010 an der Hochschule für Film und Fernsehen (HFF) „Konrad Wolf“ in Potsdam
Das Programm von insight-out vom Montag hatte die folgenden Schwerpunkte:
Mike Christmann: Overview on Digital Film
The lecture will give an overview of the worldwide efforts to standardize digital formats, recording and presentation technologies and of the current production chain in the digital film industry. Using recent film projects as the basis for his lecture, Mike Christmann will talk about real world experience in digital film making and the workflows it requires. Focus topics will be: camera, post-production, current initiatives (i.e. Society of Motion Picture and Television Engineers (SMPTE), the Digital Cinema Initiative of major US studios, several European initiatives and research projects), High Definition television - HDTV (update on current trends, formats & standards for digital broadcasting) and - of course - 3D in the cinema and for the home.
Martin Hagemann: Digital 3D Production and Financing for Independent Producers
Prof. Martin Hagemann will talk about the financial and organizational aspects of digital production and the effects of stereo 3D production on the preparation processes. With "Avatar" 3D on the agenda of every film-producer, soon it will be a topic for TV producers as well. What does that mean for smaller independent production companies? After presenting a 3D teaser during this year’s Berlinale with a view to raising finance to produce the 3D feature later this year, first experiences on budgeting, producing and financing questions concerning 3D will be shared.
Stefan Ciupek, Peter Hjorth: Case Study Digital Cinema: Antichrist
Antichrist will be presented as a case study and discussed with members of the film crew. Stefan Ciupek (Digital Camera Supervisor, Digital Colorist) and Peter Hjorth (2nd Unit Director, VFX Supervisor) will talk about their artistic requirements and the workflow they decided to employ.
Der heutige Tag beginnt mit dem folgenden Programm:
Jericca Cleland: Previsualization: The Shape of Things to Come
In challenging economic times and with increasingly sophisticated audiences, narrative filmmakers are seeking more efficient ways to produce higher quality products. Surprisingly, the solution for many has come from the virtual production world provided by computer animation. 3D previsualization is a collaborative process that enables filmmakers to explore light-weight, easily-modifiable versions of shots, sequences, or entire films. From creative exploration to technical problem solving, previs enhances visual communication and enables creators to optimize their entire workflow from pre-production through post-production, regardless of whether their final medium is live-action, stop-motion animation, or full CG. Join us for this overview of the powerful paradigm of previsualization and witness the shape of things to come.
Quang Tran: On Set Motion Capture
Quang Tran presents Exozet Effects’ recent work using the XSENS motion capture system. This system allows filmmakers to obtain the necessary motion capture data using real actors/stunt crew on set during principal photography. It was used for creating digital ghost doubles for the film, “Im Spessart sind die Geister los” and allowed the director to choreograph an entire sword fight sequence between two stunt men which was later translated into digital ghosts with realistic human movement. The motion capture suit can be worn under the costume using modern motion sensors rather than using the traditional more complex infrared camera rig.
Quang Tran: The Eye 3D - A Stereoscopic Documentary
The Eye 3D is a documentary about the most powerful optical telescope in the world: the VLT of the European Southern Observatory (ESO). One of the most incredible scientific instruments ever built, that has found its place in one of the most exciting regions of this planet: Chile’s Atacama desert. Screen writer, director and producer Nikolai Vialkowitsch and sound designer and HFF graduate Dominik Avenwedde will share their experiences with that project.