The differences, possibilities, and challenges associated with analog and digital processes in cinematography were the focus of today’s masterclass, “Analog vs. Digital Processes: A Technical and Philosophical Perspective”, held at the Manaki Cinema as part of the 47th edition of the “Manaki Brothers” International Cinematographers’ Film Festival.

The masterclass was led by German cinematographer Johannes Louis and colourist Dirk Meier, who examined the topic from the perspectives of both work behind the camera and post-production processes. Meier, who has worked as a freelance colourist, post-production consultant, and lecturer since 2005, talked about the approach to a film’s visual look and the role of references in the colour grading process.

“I have a description of how I want the shot to look. When we look at image references, I try to analyse them. I try to understand what the cinematographer sees in those images”, Meier said, explaining his approach to the visual interpretation of the footage.

Meier has worked on numerous feature films and documentaries; as a colourist, his credits include films such as Lars von Trier’s Antichrist, Sebastián Lelio’s A Fantastic Woman, Alice Rohrwacher’s Happy as Lazzaro, Roy Andersson’s About Endlessness, and Kleber Mendonça Filho’s The Secret Agent. He is a member of the IMAGO Technical Committee, the German Society of Cinematographers (BVK), and the Colourist Society International (CSI). Johannes Louis is a German cinematographer with experience in both film and television productions. His projects include the films Hansel & Gretel: Witch Hunters, Berlin Metanoia, and Cleo, as well as the TV series Druck.

The masterclass provided a forum to discuss how the choice between analog and digital processes
influences a film’s visual language, as well as how technical tools intersect with the creative and
philosophical decisions made by cinematographers and post-production professionals.