Customised Post-production

All developments are focussing on the highest production safety, quality management and consistently calibrated processing course. This starts even with film processing. CinePostproduction Geyer Köln is one of only 51 film labs in the world that comply with the strict requirements of the Kodak Imagecare programme for negative processing.  The result of the annual audit proves the sustainability of their current quality assurance measures. The standards required for certification were even exceeded. »This way, we are creating the best outset conditions to process the image material in best quality in the subsequent digital post-production,« explains Sebastian Gassner, sales manager of the NRW branch CinePostproduction Geyer Köln.

Large Images for the Big Screen

The Lustre colour grading suite with Barco 2K digital projector in Cologne enables colour grading for movies in a colour fidelity and gammut even exceeding the DCI (Digital Cinema Initiative) requirements. Using a total of seven cinema grading systems in different locations, CinePostproduction has an essential influence on the further development of these systems. »As official beta tester of Autodesk Lustre, Flame and Smoke, we are using our experience from those projects for improving the hard- and software,« says Sebastian Gassner. »This way, we are always up to date regarding technical equipment at our sites and are able to very quickly offering customised solutions, e.g. in the area of digital camera systems.« In the last few years, the company invested between three and four million Euros per year into digital post production. According to managing director Stefan Müller, CinePostproduction is focussing on »further development of project-specific workflows. This know-how in particular makes us different from other post-production companies.«

TV in Movie Theatre Quality

For 16 mm TV movies, CinePostproduction has been offering the so-called »1.9K log« workflow for three years now. The film material is logarithmically scanned in HD resolution, rather than linearly scanned as usual for the TV market. The colour space and the overall creative possibilities provided by colour grading for theatrical movies are thus also available for TV movies and TV series, a concept unique in Europe. De-graining is particularly important for the channels‘ regular HDTV operation. CinePostproduction integrated special software for this into exist-ing workflows, so that de-graining can be performed and verified directly during colour correction.
Another technical highlight are customised TV series workflows for digital shootings with cameras such as RED or Alexa. This area in particular requires cost-effective (post) production at consistently high quality and short processing times.
The company regularly passes on this know-how for the development of digital workflows to movie-makers. Approximately 30 movie and TV producers participated in the last workshop of CinePostproduction Geyer Köln this year. Achim Strack, Postproduction Supervisor at Eyeworks Fiction Cologne, said: »The contents were balanced just right between giving a practical overview and offering technical depth. It was surprising to see the possibilities offered by processing of the RED data at the Lustre colour correction system.« Other workshops of this kind are already being planned.

CinePostproduction is represented across Germany by branches in Munich, Berlin, Hamburg, Cologne and Halle, and sees itself as a full service provider for film, television and commercials. From HD post-production to compositing, VFX and digital colour grading, through to workflows for digital and stereoscopic productions. Beyond post-production, this also includes technical advice and on-set support.

CinePostproduction GmbH Geyer Köln

CinePostproduction GmbH Bavaria Bild & Ton

CinePostproduction GmbH Geyer Berlin

CinePostproduction GmbH Atlantik Film Hamburg

CinePostproduction GmbH Niederlassung Halle

Managing Directors: Stefan Müller, Christian Sommer
Employees: 350