Equip­ment and Facil­i­ties

The pro­duc­tion and post-pro­duc­tion tech­nol­o­gy is the opti­mal foun­da­tion to pre­pare stu­dents for their pro­fes­sion­al film­mak­ing prac­tices. From the begin­ning of their stud­ies, DFFB stu­dents learn tech­ni­cal skills dur­ing the pro­duc­tion and post-pro­duc­tion process­es. The entire film pro­duc­tion process is taught, from shoot­ing through all stages of pro­duc­tion to the pro­duc­tion of a DCP.

Record­ing tech­nolo­gies and cam­era equip­ment

Students­—particularly cin­e­matog­ra­phy students—have access to record­ing tech­nolo­gies, rang­ing from inex­pen­sive con­sumer sys­tems (for exam­ple, Canon C300, Sony Alpha7s) to high-qual­i­ty Cinestyle cam­era tech­nol­o­gy (Ami­ra, Alexa35).  Along­side dig­i­tal tech­nol­o­gy, the DFFB still offers the option for stu­dents to shoot on film (35mm or 16mm). For exam­ple, the first-year film is shot on S16 mm and in var­i­ous cin­e­matog­ra­phy sem­i­nars films or exceris­es are shot on 35 mm or 16 mm.

Through this approach, stu­dents are able to learn the var­i­ous require­ments of these dif­fer­ent record­ing tech­nolo­gies. The DFFB also has an equip­ment depot with sound record­ing equip­ment and acces­sories (Sound­de­vice 883, Mixpre6, Ton-Zoom), and lights (HMI, Tung­sten, Kinoflo, LED full Range und Bi- Col­or).

These cam­eras are avail­able to stu­dents

• N 16 mm film:
  Bolex (avail­able at the Bolex work­shop instruc­tor: Ute Arand)
• S16 mm film:
  ARRI SR3 High Speed (pos­si­bly exter­nal rental of objec­tive set)
  ARRI 416
• DSLR cam­era:
  Sony Alpha 7S
• Dig­i­tal Cinestyle:
  ARRI Alexa35
  ARRI Ami­ra
  Canon C‑300

Post-Pro­duc­tion

At our inter­im loca­tion in Adler­shof there are sev­er­al edit­ing suites avail­able for edit­ing with AVID Medi­a­Com­pos­er or Davin­ci Resolve. Our clas­sic Steen­beck edit­ing tables are also avail­able. 2K and data-based work process­es are estab­lished as a con­sis­tent pro­duc­tion stan­dard.

Our high-end grad­ing sys­tem with dig­i­tal pro­jec­tion in accor­dance with the DCI stan­dard enables the colour design of stu­dent film projects for cin­e­ma and TV. A colour man­age­ment sys­tem ensures the bind­ing, con­sis­tent pre­sen­ta­tion of the image con­tent.

One of our 5.1 mix­ing stu­dios moved into a Stu­dio­bricks sound­proof booth. We also coop­er­ate with Chris­t­ian Riegel and his team from the sound office for all cin­e­ma mix­es.

A cen­tralised stor­age sys­tem enables flex­i­ble work­flows and net­worked work. DCP and IMF fin­ish­ing up to 4K is car­ried out using a col­or­front transcoder.