How the FEST Post-Production and Digital Distribution Workshop Can Help Attendees Avoid Costly Mistakes | Promotion



In partnership with the Portuguese film festival FEST – New directors | New Movies, Digital Production Challenge II (DPC II) workshop program is slated to take place in a new online form from March 29 to April 1.

Now in its 10th year, the initiative gives international participants an in-depth knowledge of post-production and business workflow processes and the art of digital distribution.

The new virtual take will mean shortened presentations, more breaks and the likelihood of a virtual bar for attendees to virtually come together to relax between and after sessions.

DPC II Academic Director Paul Miller said the decision to transform the annual meet, host and spitball event was a challenge. Miller, FEST director Filipe Pereira, FEST session host and DPCII coordinator Marta Carvalho and Martin Hagemann, moderator and expert, rolled up their sleeves and set out to reinvent how the four days work.

“The main thing we’ve done is make this year’s workshop schedule smaller,” Miller says. Rather than the traditional 40 minute presentations, we changed the 20 to 25 minute presentations with pauses and tried to make them as interactive as possible.

There will be a virtual conference room and a virtual lounge for discussions among participants.

Miller, film producer and finance and production expert, says this year has seen more applicants than ever vying for the 25 spots available for the DPC II workshop.

DPC II is supported by the Creative Europe Media program and the Portuguese Film Institute. It is aimed at industry professionals with priority given to producers, executive producers, filmmakers, cinematographers, production and post-production directors.

The range of tutors and experts from this year’s workshop team includes member of the German Film Board and producer Hagemann (Turin horse, Crawl, Fay grim); Florian Rettich, ARRI, DIT expert and workflow supervisor (Everything will be alright) and Director of Photography and Digital Imaging Supervisor Philippe Ros.

Swiss sound artist and filmmaker Maurizius Staerkle Drux joins Noir Lumière CEO and digital imaging expert Tommaso Vergallo; Netflix Post-Production Supervisor Miga Bär (Girl, Sulfur, Zama) and the producer and expert in MEDIA programs Konstantina Stavrianou.


DPC II always strives to have a mix of participants and this year is no different. “We have more post-production managers and coordinators than in the past. We also have producers and filmmakers, a cinematographer and an editor, ”Miller said.

For a post-production executive, getting a place in the program was the result of very concrete advocacy. The claimant told organizers in a questionnaire about his recent experience working on a production during the pandemic that anything that could go wrong would go wrong. “He wanted to come to DPC II because he knew that the next time he couldn’t use the Covid pandemic as an excuse,” says Miller “It’s good to have people who made a mistake and who come over to make sure they don’t get confused and get back to basics.

The level and experience of applicants has increased this year for a workshop that already emphasizes that selected participants have made one film or worked on multiple films or documentaries. Seven selected participants arrive with a project, one of which is Portuguese. These participants will enjoy a little more one-on-one regarding their projects and their projects are also used as real test cases during the four days. There will also be 18 other participants with no ongoing project.

“Our whole philosophy is that the worst thing you can do is think about post-production when you’re at that post-production stage,” says Miller. “You should think about it at the start and know where you are aiming. Always think about the end of the current movie. There’s no point in using an Arriflex camera and expensive film if the footage is for a cell phone or YouTube channel.

“Post-production isn’t the sexy end of the business, but the people doing this workshop are super grateful and super engaged,” he continues. “Post-production is the last crucial step in making a movie, and a stage where mistakes tend to be costly, often very costly. ”



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