INSIGHT OUT 2009: Day One

VON Dr. Wolf SiegertZUM Montag Letzte Bearbeitung: 15. Januar 2015 um 22 Uhr 41 Minuten


Heute beginnt die INSIGHT OUT - Woche in der HFF Konrad Wolf in Potsdam Babelsberg mit dem folgenden Hier einzusehenden Programm.

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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.

Es gelten die Regeln des Urheberrechts all rights reserved

Eine dazu vergleichbare Geschichte war zu hören in dem beeindruckenden Vortrag von Brian Van’t Hul [3] über das "Making of" als Visual Effects Supervisor für den Film Coraline unter besonderer Berücksichtung der besonderen Herausforderungen eines erstmals in 3D erstellten "stopmotion features".

Es gelten die Regeln des Urheberrechts all rights reserved
Es gelten die Regeln des Urheberrechts 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.

Es gelten die Regeln des Urheberrechts all rights reserved

So etwas war noch nicht zuvor gesehen worden: "echter Nebel". [4]

Es gelten die Regeln des Urheberrechts 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
Es gelten die Regeln des Urheberrechts all rights reserved


[1VFX, 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.

[2Mark 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

[3Following 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.

[4Und genauso beeindruckend: die von Armstrong "wie echt" animierte Kaminfeuer-Sequenz.

[5Er 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.

[6wobei die Aufnahme mit einer handelsüblichen Mini-DV-Handcamera ohne externem Mikro aus der hintersten Reihe gemacht wurde... WS.

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