Continuing vocational training in parallel to a career: post-production supervisor
in cooperation with Amsterdam Post Lab (APostLab)
27th & 28th October 2023 – Online
In order to meet the demand for specialists in post-production, the International Academy of Media and Arts e.V. (IAMA), together with the Amsterdam Post Lab and the Postpro Network Halle, is offering the training to become a post-production supervisor for the third time. The further training program is oriented to the increased challenges of the market (digitization, requirements of streaming services, workflows, budgeting, etc. and new formats and filming options) and empowers the participants to take on the next film and series production. Experts from the German and international film industry ensure a well-founded training and practice-oriented exchange.
Continuing education is designed to inform from the individual’s specialization to current standards and requirements in the workflow of the entire post-production process. The process of post-production is placed in the context of the particular narrative (story). The continuing education will enable participants to conceptualize and execute upcoming projects from the perspective of the postproduction supervisor. Therefore, participants are encouraged to bring their own project that is in preparation and comes from the fields of fiction, documentary, animation or virtual production. The IAMA also provides participants without their own project with an accompanying example project on which the contents of the training are processed and explained.
The in-service training Postproduction Supervisor – for entry into postproduction, provides basic knowledge and facts in the areas of image and sound formats, camera work, visual effects, color grading, sound post, sound design & music, workflow and budgeting. It is also aimed at producers, production managers, production assistants, editors, production managers, directors and other related professionals.
The workshop days will take place in individual modules, in which each component of the post-production is extensively discussed and reflected upon, and clearly explained and illustrated by example projects (cases studies). Individual modules are repeated and the participants are given tasks to help consolidate the learned material in a practice-oriented manner. Both individual and group work sessions are initiated, which allows participants to discuss and apply what they have learned in small groups. Group leaders support the participants in this through coaching.
THEMEN - INHALTE
HEAD OF STUDIES
Postproduction supervisor and head of studies
Tina has worked as a production manager for feature films and documentaries. After the transition from analog to digital production in 2000, she specialized in post-production. Since 2008 she has been working as a freelance post-production supervisor on national and international cinema and documentary films. She is also a guest lecturer and tutor (e.g., dffb, EPI, PAIQ). More information can be found hier.
Post-production supervisor and head of studies at APostLab
After many years as an editor for fiction and documentary projects, Niko Remus moved into the field of post-production supervision. He works mostly on international co-productions for cinema audiences. His projects in recent years include “The Last Station” by Michael Hoffman, “Hannah Arendt” by Margarethe von Trotta, “Only Lovers Left Alive” by Jim Jarmusch, “About Endlessness” by Roy Andersson, “55 Steps” by Bille August, and “Styx” by Wolfgang Fischer.
Niko Remus is a lecturer at various film schools and is a coach at Torino Film Lab, Rotterdam Lab and Berlinale Talents. Since 2010, he has been part of the team of APostLab (formerly EP2C) and took over the role of Head of Studies in 2017.
Philip Hahn has been working as a post-production manager at Bavaria Fiction GmbH from 2011 and works on both German and international feature films. These include “The Glassblower” (2016, directed by Christiane Balthasar), “Das Boot” (2018, directed by: Johannes W. Betz, Tony Saint), and “Brecht” (2019, directed by Heinrich Breloer). Since 2019, he has been working as Senior Post-Production Manager for Netflix in the department International Originals.
Inhouse producer at Metrix Media
Yvonne has been an in-house producer at the Halle-based company Metrix Media since 2017. She studied media and communication sciences, political sciences and intercultural knowledge communication at MLU Halle-Wittenberg and graduated in 2010 as Magistra Artium. In 2006, she made a one-year stop at the New York Film Academy and studied producing for television and film. As production manager at Motion Works GmbH, she was responsible for the animated films “Mullewapp” (2016) or “The Travels of the Young Marco Polo” (2013).
Technical supervisor mastering
Stephan has been working at digital images GmbH in Halle (Saale) since 2008. In his work there as an in-house technical supervisor, he is responsible for a wide range of mastering tasks, the deliverables, and their technical processes.
As Head of Video and editor, Stephan Langnickel oversees the visual post-production for nationally and internationally acclaimed cinema and television films, for example,
Milena Fessmann runs since 1998, in addition to her many years as a DJ in various clubs and as a presenter on Radio Eins, RBB with an independent
weekly music show “Free Falling – Tuesdays 23-01 clock, (http://www.radioeins.de/programm/sendungen/free_falling/) the company CINESONG.
She moderates events, panels, press conferences, etc. such as “Reeperbahnfestival 2014- 2023, c/o Pop and Soundtrack Cologne since 2014, is a political scientist and gives seminars on “Musicsupervising” at the DFFB. She is an Advisory Boardmember of the World Soundtrack Academy and a member of the European Film Academy.
Since 2012 Sugar Town Filmproduktion GmbH & Co.KG exists and the first project the documentary “The Potential of Noise – Conny Planck” was released in Germany in September 2017 and had its world premiere at SXSW 2018, US release September 2018. Other projects/co-productions include “Als Hitler das Rosa Kaninchen stahl”, “Prince of Swan”, “H.M.I”, and “Einfach Machen” She-Punks von 1977 bis heute”, a documentary about women in German-language punk and new wave in post-production.
More info here.
Anna Kühlein is a German film composer based in Berlin and Leipzig. She studied music production with a focus on composition, piano and recording technology before successfully completing her studies in film music at the renowned Film University Babelsberg KONRAD WOLF in 2020.
Her repertoire ranges from orchestral compositions to subtle, electronic and experimental sounds. Thanks to her versatility and empathetic intuition, she creates musical atmospheres and individual soundscapes for every project.
Her TV work includes the internationally successful multi-part series “Ku’damm 59” (director: Sven Bohse, in collaboration with Maurus Ronner), the third season of the youth series “Wir sind jetzt” (director: Christian Klandt) and the ZDF Neo series “Decision Game” (director: Benjamin Pfohl) and “Was wir fürchten” (director: Daniel Rübesam).
Anna Kühlein wrote the music for the highly acclaimed cinema documentaries “Wem gehört mein Dorf?” (director: Christoph Eder), which was nominated for Best Documentary Film in 2022, and “Anima – Die Kleider meines Vaters” (director: Uli Decker), which won the “Best Documentary Film” and “Audience Award Documentary Film” categories at the 43rd Max Ophüls Prize Film Festival. In 2022, she composed the music for Doris Dörrie’s latest feature film, “Freibad”.
In 2019, she received the German Film Music Award in the “Young Talent” category for her achievements in the film music industry.
More about Anna Kühnlein: https://www.annakuehlein.com/
Film producer and mediator
Julia has been working in various areas and functions in film production since 2002. She started in post-production and today mostly supervises feature film projects in an international international context as a production and production manager, producer or production production supervisor – in some cases from development to exploitation, including award-winning films such as films such as DIE FREMDE, JOHN RABE and Ai WeiWei’s documentary THE HUMAN FLOW, but recently also THE ASSESSMENT and the British-German series co-production YOU as well as occasional advertising film projects for well-known agencies. She brings extensive workshop experience, especially from her many years representing for the international MEDIA Script Writing Program SOURCES 2 and her part-time training and work as a mediator and coach.
Producer Twenty Twenty Vision & Pallas Film
Martin Hampel is a producer at Twenty Twenty Vision (Berlin) and Pallas Film (Halle). Both companies produce films with universal plots that have enjoyed worldwide festival and cinema success.
Filmography (most recent films):
TEL AVIV – BEIRUT by Michael Boganim (Tokyo IFF 2022), MEDITERRANEAN FEVER by Maha Haj (Cannes – Un Certain Regard 2022), THE DAM by Ali Cherri (Cannes – Director’s Fortnight 2022), MARIUPOLIS 2 by Mantas Kvedaravičius (Cannes – Special Screenings 2022), THE GRAVEDIGGER’S WIFE by Khadar Ahmed (Cannes – Semaine de la Critique 2021), THE MAN WHO SOLD HIS SKIN by Kaouther Ben Hania (Oscar nomination ‘Best international Feature Film’ 2020), IT MUST BE HEAVEN by Elia Suleiman (Cannes – Competition 2019)
VFX supervisor and animation artist
Jan Stoltz studied animation and digital effects at the Filmakademie Baden-Württemberg. To this day, the focus of his expertise lies in the areas of VFX supervision and animation. As a character animator and animation lead, he has worked on a number of German and international film productions, such as “I, Robot” and “Lissi und der wilde Kaiser”. For many years he has now worked as a VFX supervisor for a wide range of different projects, including German film productions such as “Vorstadtkrokodile” and “Tim Thaler”, as well as international commercials and television productions, such as the BBC series “Wolfblood” and “The Swarm”. Jan was also animation director on films such as “The 7th Dwarf” and “Jim Button and Luke the Engine Driver”.
The maximum number of participants in the post-production supervisor workshop is limited to 20. The IAMA and APostLab will review submissions to, among other things, ascertain the candidates’ level of knowledge in order to, among other things, be able to organize group work as effectively as possible.
Interested parties should apply with:
- Motivational letter (max. 2 pages)
- Brief description of the project (if any)
- *Registration form
The participation fee for the workshop is €600.00 plus 7% VAT (€642.00 gross) for participants with their main residence in the MDM region (Saxony-Anhalt, Thuringia, Saxony).
For participants with their main residence outside the MDM region (German-speaking area), the participation fee for the workshop is €1,000.00 plus 7% VAT (€1070.00 gross).
The participation fee covers the working materials of the individual instructors, the provision of the sample project, participation certificates (successful project presentation), and final certificates (passed test). Travel and accommodations costs for the in-person event in Halle (Saale) on November 23-25, 2023 are not included.
Members of the IAMA and the Produzentenallianz get a discount of 15%. Please let us know in the registration process.
There’s the possibility of getting financial support: