La Sardaigne reçoit le 9e atelier APostLab, dédié à la post-production
par Vittoria Scarpa
- 24 participants (producteurs, superviseurs de post-production) représentant 17 pays du monde se sont retrouvés à Cagliari du 8 au 13 novembre
Cet article est disponible en anglais.
Having arrived from France, Germany, Sweden, Hungary, Egypt, Bolivia, Brazil and many other European countries and world destinations (17 in total), 24 participants took part in the 9th APostLab workshop (Amsterdam Post Lab), which gathered producers and post-supervisors in Cagliari (Sardinia) from 8 to 13 November in what represents, to date, one of the very few international workshops dedicated to film post-production. A full six-day programme that included group and individual work sessions with tutors and experts on specific projects in the production phase, as well as lectures on the various aspects of the post-production process: from budget planning to the creation of DCP and DCDM, through colour grading, sound post-production, principal VFX techniques, quality checks and more.
The event's main objective was to bring producers and post-production supervisors together to acquire a common language and to talk to each other. "Our mission is to make producers more aware of the importance of post-production and to give them the tools to better appreciate this important stage in film creation," explained Joost de Vries, managing director of APostLab. "The producer comes with a project and we associate that project with a post-supervisor, so that they can work together on a plan." "Inviting the post-supervisor to be part of the creative project is a solution to optimise costs and to avoid unpleasant surprises at a later date," specified Hans van Helden, post-production director at Netflix, and Head of Studies at APostLab: "Usually, the budget is put together by a line producer who knows all about shooting, but doesn't really know what's required in post-production. And often, by the time the post-supervisor intervenes, it's too late."
"Post-production starts before the shoot," is the key message according to Niko Remus, post-production supervisor who has worked with directors such as Margarethe von Trotta, Jim Jarmush and Roy Andersson, also part of the APostLab team as Head of Studies: "Our workshop focuses on what producers need to know in order to have high-level discussions with post-production workers. We need basic technical understanding and a shared language that allows people who work together for a long time on a film in order to exchange ideas."
"We producers tend to be more competent when it comes to development and shooting than post, and this matters," confirmed Oswald Garms, delegated producer for Ombre Rosse Film Production, participating in the workshop, "we tend to spend all our money on filming, and then arrive in post without adequate resources. Until the editing stage I have a clear idea of what we are doing, from there to the release in cinemas I do not." Concluding: "It is also important here to listen, during group sessions, to what is said about other projects, because it gives you a renewed perspective on your work or on the next film you make."
Cécile Tollu-Polonowski, producer of Match Factory Productions, was of the same opinion: "It is an opportunity to consolidate knowledge. After two days I already feel more confident about things I deal with everyday, but that I hadn't previously understood very well." "Sometimes you specialise in a part of the business and you lack information on other aspects," stated Martina Lajtner, a Slovenian post-supervisor specialised in colour correction, "it is good to exchange experiences with colleagues and understand what producers need." This was echoed by Daniel Dode, post-supervisor at Post Frontier: "Those who work in post are often locked away, so this is a rare opportunity to meet people from different markets and cultures, and learn about different ways of doing what we do."
Among the participants in the 9th APostLab workshop was the producer-director Rati Tsiteladze, EFA candidate with his short film Prisoner of Society: "I come from Georgia, a small country, and an event like this is an opportunity to understand how they work in other countries." "We like to have a variety of nationalities present, showing what each country can offer on a professional level," says Neeltje van der Heijden, APostLab programme manager, "the programme is updated every year because things change quickly. We’re constantly having to reinvent ourselves."
(Traduit de l'italien)
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