INSIGHT OUT 2010

No surprise: When the industry deals with the status quo and the future of technology, the topic is stereoscopy. The same recently at "INSIGHT OUT" in Babelsberg. [...]

The human brain is not fast enough to process pictorial spaces using today's sharp editing rhythms. The result is a "painful" experience of stereoscopic cinema. "3D" therefore requires an adapted slower narrative style. Directing, cinematography and production design must find new ways to attract the gaze of the viewer to the important elements of the picture within the room. Hagemann says that therefore classical design elements are needed again. This could get close-ups a new intensity thanks to stereoscopy. [...]

Often enough Hollywood mainstream is not only a model for the technical applications of European productions. It also works vice versa: Pixomondo contributed numerous effect shots for Roland Emmerich's 2012, told Manfred Büttner. German companies to provide services for major U.S. cinema? Who would have predicted that a few years ago?

"The Conquest of Space" by Peter Dehn, cinearte 215, 3 June 2010

The participants came from mostly elsewhere - 70 in total from 28 countries this year - but locals can easily get to INSIGHT OUT by commuter rail from Berlin or by car (15 minutes straight down the highway). [...]

One noticed that this year participants asked many more questions about the ways stereo 3D affects dramaturgy, framing, editing stratgies, camera movement, and lighting - and the people at the podium responded like pioneers, with almost as many questions of their own. [...]

What new language is stereo 3D offering documentary? Brian Van't Hul is a special effects creator who supervised the production of the stereo 3D stop-motion puppets film Coraline, and has won an Oscar for some of his work with Peter Jackson. He says that depth in stereo 3D can be shallow or profound, but it should vary: "Stereo, to me, is like music. You don't have it up loud from the first frame of the story... If you can open it up and show how dirt cheap it can be, you're opening it up to the really creative people."

"A new language?" By Jo-Anne Velin, Dox #86, Summer 2010

Paving 3D the way to art-house - Chances for new business models.

Within a short time, 3D blockbusters have become the major sales boosters for the cinema. At INSIGHT OUT 2010 Martin Hagemann described how independent art-house producers are trying to capitalize on this trend now.

Chances for new business models, Blickpunkt Film, 6 April 2010

"HFF is training young talents for the industry", says Robert Laatz, head of the first live action 3D-project at HFF "Konrad Wolf". "This also means creating the bases for 3D-film design, whereas especially theatrical live-action causes huge challenges." The approximately ten-minute project "Topper does not give up!" started with content selection and script development in September and is part of the 3D research project PRIME, funded by the Federal Ministry of Economics. [...] The project will be presented at the HFF-Academy INSIGHT OUT in March for the first time.

Junior staff training in 3D, Blickpunkt Film, 7 December 2009

Because every filmmaker, screenwriter, and producer wants an active audience, since only he can understand the intentions and inner worlds of a film at all, new workflows and narrative fluencies shall be found which do not expect too much from the viewer, but satisfy him in 3D. "This is the most interesting for me," says the film producer Christoffer Koller. "New techniques, ideas and workflos are established before and behind the camera. Therefore you have to be up to date. HFF has a top international reputation, that's why I'm here," says the Austrian.

Filmic always on the pulse of time, Nordkurier, 30 March 2010

The participants were able to seek comprehensive advice with their own projects. Miguel Ferros (digilab), Markus Bäuerle and Matthias Saulich (both CinePostproduction), Steffen Scheid (Camelot Broadcast Services) and Phil Streather (Principal Large Formats) explained project-specific workflow options. This included the special features of the imaging techniques of various cameras and the implacations for set work, post-production and the budgeting of productions.

At the matchmaking dinner sponsored by CinePostproduction, Exozet Effects and Camelot Broadcast Services the participants met up with industry representatives from Berlin and Brandenburg and were able to exchange notes about projects and new technologies in a relaxed atmosphere during the meal.

CinePostproduction, 26 March 2010

I enjoy such events as INSIGHT OUT, where the curiosity of the participants is bursting at the seams, and you do not discuss "if", but "how". 

"Why some people hate 3D..." by Gerold Marks, Digitale Leinwand, 15 April 2010

The trainers and participants of INSIGHT OUT 2010 concluded: the technology for the production of stereo 3D may be matured, but the number of those who can use it is still very limited. There are alo new artistic challenges as well as technical one arising from the third dimension. The film language for 3D is still being developed, it has to be individually adapted to the genre and the expectattions of the target audience.

The programme director and HFF vice-president Prof. Martin Steyer says: "The audience and filmmakers see themselves confronted today with immersive technologies which equip them with new narrative forms on the creative side and increased impression on the part of the recipients.

New and developed technologies make film language possible which is permanently changing the relationship between inner and external images with the spectator. No-one can yet say how this development will influence the future of cinematic art. "Will digitization force the audience to abandon the established viusal and auditory habits?"

HFF has its finger on the pulse - Streo 3D at the international symposium INSIGHT OUT 2010, Postproduction-buyersguide.com, 9 April 2010

Travelling to Germany at any time is a great treat - going there to participate in the HFF "Konrad Wolf" Film & Television Academy's INSIGHT OUT conference is terrific! This intimate, hands-on conference is held in the beautiful film school building in Babelsberg, Potsdam, not far from Berlin.  [...]

Since I decided to hang out for a couple of days after my lecture, I had the great fortune of taking a stereoscopic stop motion animation workshop from Brian Van't Hul (LAIKA) and Joe Lewis (General Lift). Super fun! [...] I was so inspired, I found a stop motion animation app for my iPhone (iMotion) and made little animations on my tray table on the flight back to Vancouver. Made for a great conversation-starter with my seat-partner!

Spotlight On: HHF's INSIGHT OUT 2010, by Jericca Cleland, Twentyoneinc.com, 5 April 2010

INSIGHT OUT 2009

The 5th international symposium INSIGHT OUT / HFF Academy this year attracted 50 filmmakers, producers and post-production experts from 20 countries, from Hong Kong to Egypt, Romania and Great Britain, to Potsdam-Babelsberg. Leading international personalities such as the stereoscopic supervisor Robert Neumann (Disney Feature Animation), Steve Schklair (CEO 3ality) and Brian Van’t Hul (VFX supervisor for „Coraline“) came to the HFF „Konrad Wolf“ from 23 - 27 March to present their expert knowledge on the production of 3D content.

The future of cinema is 3D, Digital Production Online, 1 April 2009

An INSIGHT OUT success story will be presented in the case study about the feature film »Popiełuszko« which has its premiere in Warsaw in February. The screenwriter and director Rafał Wieczyński and producer Julita Świercz Wieczyńska participated in INSIGHT OUT in 2007 and planned the workflow for this film on the basis of the information they received at the symposium.

INSIGHT OUT 2009, Professional Production, 10 February 2009

For one week professionals from all EU countries got the chance to plunge deeply into the world of filmmaking. Stereoscopic 3D production was the most popular part of the advanced training programme INSIGHT OUT at the Film and Television Academy Potsdam. [..] For INSIGHT OUT participants having 3D movies already in preproduction the practical part  proved to be most beneficial.

Left has the right of way by Peter Dehn, Cinearte, 23 April 2009

"Finally 3D is working out very well because it has become digital" said Steve Schklair, founder of the production company 3ality Digital, recently speaking at the conference INSIGHT OUT at the Film and Television Academy Potsdam-Babelsberg. Schklair produced one of the first digital 3D documentations with the rock band U2 in 2007.

Digital 3D cinema as a future market by Helmut Merschmann, VDI Nachrichten, 30 April 2009

The 25 3D films produced in the USA up to now had realised about one third additional income in comparison to traditionally projected versions for the appropriately equipped cinemas, said Kemal Görgülü from Flying Eye management consulting. Therefore 3D would be an important factor driving the digital changeover.

Focused on 3D, Blickpunkt Film, 6 April 2009

In Hollywood, depth scripts or depth maps are created already at storyboard-stage for stereo 3D productions. With this tool, irregularities in the depth impression can be identified at an early stage when shifting from one scene to another.

Digital cinema and stereo 3D: topics of the INSIGHT OUT-Workshop, film-tv-video.de, 6 May 2009

Overseas 3-D market has yet to pop by Scott Roxborough and Stuart Kemp, The Hollywood Reporter, 26 March 2009