Understanding and handling the workflow is one of crucial elements in digital film production today. With changing and evolving technology, it is important to keep up to date and comprehend how the stages of pre-production, production, post-production and archiving are connected. 

The aim of these plenaries is to give an overview of the process and to understand the different steps well enough to have an eye-level discussion with everybody in post-production.

The series of DIGITAL WORKFLOW plenaries is divided into 6 chapters:


From Shoot to Post 

„The post starts before the shoot“ has become a standard phrase at the workshop. In this plenary, Miga will explain the workflow and go through the entire process. Starting in pre-production when the format is decided and the camera is chosen, going through the process of testing and getting ready for production. 

Miga Bär, The Netherlands

Niko Remus, Germany


Dailies Lab and DIT & Dailies Lab, Preserving the Creative Intent   

When moving from film to digital, we suddenly got a new job on-set; the DIT. Who or what did this person replace and what do they do for our production? 

How does the work of the DIT connect with the creation of dailies? And why are dailies so important in the first place? 

Miga Bär, The Netherlands


From Picture Lock to Final Grade

The transition from the picture lock to the final stage of image post-production is driven by the conforming process. From there, the colorist takes over in the search for the final look, bridging the gap between the technical and the creative sides, while managing the human aspect of the "therapy session" that grading really is. 

Petra Lisson will highlight the role of the producer and post supervisor in the grading process and how they can and should be involved.

Juan Galva, Spain


Color Science for Non-Scientists  

Color and the perception thereof is not only highly subjective, and in filmmaking a very creative process: it’s also a science. Without getting into any math, we will give an overview of the different ways cameras and displays perceive and reproduce color, and why we need to care about that, at least a little. This will tie into a part of the process that we call look development, where we ensure that in every phase of a production everyone will see the images as they were intended to be seen by the director and DoP. 

Miga Bär, The Netherlands


Master Elements

The DCP has been a standard for cinema projection ever since 35mm prints declined. But how does a DCP really work and what do you need to make one? Will the DCP remain the most important delivery format for film with recent releases on streaming platforms only - or using both. Neeltje van der Heijden will go through the steps of making a DCP and how this is related to the delivery elements for a VOD platform: the IMF.  Encryption will be covered as well as handling different playlists and subtitles within a DCP and an IMF. In addition, the main delivery elements in today’s world for mastering and archiving will be explained: the DCDM & the DSM.

Neeltje van der Heidjen, The Netherlands

DIGITAL WORKFLOWS 6 - facility visit


Organizing deliverables for a digital project, especially in a co-production, is one of the most challenging tasks when completing a film. The numerous formats and ever increasing demands from world sales and distributors and changes in how films are released are adding to the complexity. Neeltje van der Heijden will show you how to put together a comprehensible list, and walk-through the different elements. With all that is required - which materials do you really need and what could you negotiate out of your delivery schedule.

Fran Sokolić, Slovenia

Julij Zornik, Slovenia

Neeltje van der Heidjen

The Netherlands

Niko Remus, Germany