The Studio Hamburg Postproduction provides the optimal post production environment for you and your project. We specialize in scenic TV contents, mainly feature films and series, but also provide professional services in the fields of cinema, shows, magazine programs and documentaries.
With more than 50 modern non-linear video editing suites, three Nucoda grading suites, several dailies correction centers, three Nuendo sound designer suites, two mixing studios and a central storage of over 300 TB, we offer an ideal environment for your production. Our team that consists of more than 30 permanent staff and highly trained specialists edit your stuff with the most modern IT-based equipment. We guarantee efficient workflows, which are setting the highest standards for quality.
(Long ago) When the film used to be shot on celluloid, we got the exposed material, developed and labeled in film cans, delivered and started the digitization / scanning and color grading. Nowadays, the digital image is created directly in the camera and production steps, such as data backup, Outtaking (of dailies), the quality check etc. have shifted from the lab into the post-production house.
The data backup of the original camera data is the first step of production. During the quality check, we examine and document in the form of error logs and find often booms, reflections of the film crew in reflective surfaces, or insurance-related pixelation and camera errors.
We develop the raw data from the camera chip to normal playable files. After the dailies color correction, which takes place in close cooperation with the DOP, director and producer, we transcode the data to the desired destination formats for the creative section.
Storing all material available in our central storage system, currently consisting of 300 TB SAN, 120 TB Isilon clusters and other external RAID systems.
The sample preparation is carried out by classically trained assistant editors. Their tasks include basically the preparation of sound layout and labeling of multi-channel tones, sort the clips according to the arrangement with the editor, verifying the completeness of the material and the maintenance of pre-stop lists, protocols etc. In addition, it adopts any communication with the set, so that the cutter / editor can concentrate fully on the creative section.
The dailies can be streamed on demand via our prevision server portal. For production and broadcasting, this is an indispensable instrument of control.
The dailies’ color correction, development and the cutting can be done independent from each other. For data transfer between our locations in Hamburg-Altona, Hamburg-Tonndorf and Berlin-Mitte, we use our own Studio-Hamburg-Cloud. We hold this space on the Internet, so that our local drive can be visible at all locations. The data is therefore in Studio Hamburg servers and can be easily copied in and out by the colleagues.
After the creative section and the Picture Lock, our assistant editors do the necessary post production work and exports. To create the EDL’s for conforming; they write transfer lists for other departments (Sound, VFX, etc.) and make the playouts.
Completely independent from the genre of production, we provide you a pleasant environment for your project with the passion of our team for the final product and the reliability of our technological systems and workflows.
For this purpose, about 50 Avid suites with current versions of Media Composer are available. The pre- and postproduction as well as the creative interface can take place in our three locations in Hamburg-Tonndorf, Hamburg-Altona or in Berlin-Mitte through the Studio Hamburg-Cloud.
There is a possibility to rent our central and modern equipped editing rooms on a daily or weekly basis. If required, our well trained assistant film editors are available to complement your project optimally and accompany technically.
The Studio Hamburg Postproduction has a broad network in the field of editors, so that the time-critical projects can be quickly and reliably structured. For further information please contact us.
The Retouches, removing safety ropes or unwanted reflections, Picture-in-Picture, green screen, adding fire or digital auto accidents belongs to the realm of our graphics and VFX department.
Always unique and indispensable is the title editing: Whether as opening or closing credits, subtitles in the film roll titles or in the form of bars: We design the title sequences for you.
The requests regarding graphics / titles and VFX are implemented in our graphic suites, customer-oriented, quickly and competently with the Adobe Creative Suite, especially After Effects and Premiere, Final Cut, Fusion or Cinema 4D. During the production, we are happily providing for further discussions, developed proposals or alternatives on our preview server prevision, so that the decision makers do not have to travel just for a content review and editorial changes.
After Picture Lock, we dedicate ourselves to the camera material and choose the corresponding, matching, uncompressed image for each scene. The so-called “conforming” occurs mostly automatically with reference to the EDL (edit decision list), but in detail, it is often not as easy as it sounds.
If the metadata does not agree, the EDL is wrong or the codec of the current data isn’t playable in real time in the color correction or if by the sequences speed changes are desired, manual operation is in demand.
The VFX images receive almost always a special treatment as well as the establishments in series. Exceptions are the rule here.
Finally, the transcoding is done, so that in the subsequent color correction no problems are expected. As a result – and there is no exception – match every 25 HD-Frames per second exactly with the Edit-Playout and be ready for the colorists prior to the color correction. This production step is completed through our employees that combine technical knowledge, visual language and human cooperation with precision.
The Studio Hamburg Postproduction offers an ideal environment for high-quality color correction of HD projects. There are three grading suites with Digital Vision Company’s Master System, Nucoda.
The workstations are equipped with Dolby Class 1 reference monitors, cove lighting and the connection to the high-performance central storage system (SAN). The precision monitors are regularly calibrated for you in order to avoid discrepancies and to ensure a perfect result.
Our full-time colorists work on two systems with the modern precision color correction panel to implement the requests of the cameraman faster, more accurately and precisely. With the sense of the set light, technical knowledge and creativity they bring any desired emotion to the screen. We change brightness, primary and secondary colors, put masks, tracking objects or faces, complete animations. But we also smooth skin structures, stabilize the camera movements, paint the gray sky blue or turn a day scene into a night scene. We work with passion for your results.
The sound design is a creative workflow, it is designed to support and enrich the emotional impact of your movie. All sound elements, like dialogues, atmospheres and sound effects will be processed by our sound designers and brought to the “right balance”.
In case of missing sound elements, we take them out from our extensive archive or have them re-recorded by our foley artists.
That way, sound designers create the basis for the subsequent sound mixing.
The services provided by our foley artist extend from the recording of steps and other movement sounds to action sounds. This process is carried out in close coordination with our sound designers and sound engineers.
The noises are developed in their own sound studio. They support the original sound from the set and contribute significantly so that the pure audio tracks turn into to a captivating composition with the mixing.
If the technical and creative work has been completed by the sound design, our sound editor begins the final process of sound mixing.
The different tonal ranges, such as language, atmospheres, sound effects, sounds and music are set during the mixing relative to each other. The technical guidelines of broadcasting companies and / or distributors are surely to be considered during the main mix.
In our Dolby-licensed mixing studio we create sound formats such as Stereo, 5.1, Dolby Surround, Dolby Digital and more, as requested.
After the main mix, various mixed versions such as IT version (International Version) or the M&E version (Music & Effects) are successfully created. These versions are mostly part of the production contract and essential at the international distribution of your project.
In our copy, control and review rooms, the preparation and final inspection of all VTR formats are possible with an up-to-date and well-maintained infrastructure. We transfer your finished work from and to all video and audio formats, including the file-based media. The preparation and packaging of HD and SD broadcast masters is a part of our daily routine. In addition, we also create DVDs or Blu-Rays and DCPs for digital cinema. If you are looking for a technical check, an editorial content review or even a screening up to 70 people, we are the right partner.
We pay special attention to the quality control, quality assurance, fault localization and natural elimination. The standard conversion of PAL, NTSC, SECAM in 4: 3, 4: 3 Letterbox, 16: 9 or Cinemascope and back is possible as well as HD / SD Cross Conversion with us various frame rates from 23.98p to 60i.
Talk to us in the context of re-recordings of historic carriers gladly.
Even in the field of pre-production and also before the shooting, the Studio Hamburg Postproduction is by your side.
Our two experienced supervisors organize all post-production-related activities and act as a central communicator between producers, shareholders and the clients / broadcasters.
We provide you with experienced partner companies all the services that can be summarized as “barrier-free television”. We realize the increasingly demanded additional services such as subtitling or audio description for your project.
The audio description completes a visual product with acoustic annotations. All inaudible elements such as localities, actors, expressions and actions (like camera movements) are transferred from professional film writers in precise descriptions. This way it becomes not only a visual film but an audiovisual film.