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News

Berlinale Talent Campus 2013 Blogs

Welcome to CPN’s coverage of the 2013 Berlin International Film Festival, aka Berlinale. CPN is blogging live with news, pictures, live streaming and videos from the Berlinale Talent Campus part of the event, of which Canon is a principal partner.

Feb16

The Head of Sponsorship speaks…

By Steve Fairclough, Saturday February 16, 2013

The Berlin International Film Festival’s Head of Sponsorship, Dagmar Forelle, pictured in Berlin on 12 February 2013. © Cécile Mella

As Head of Sponsorship for the entire Berlin International Film Festival – aka Berlinale – Dagmar Forelle is an incredibly busy lady, but she very kindly took the time to talk to CPN about her final thoughts on the 2013 edition of the festival. She explained: “The 63rd edition of the Berlinale is about to come to…

As Head of Sponsorship for the entire Berlin International Film Festival – aka Berlinale – Dagmar Forelle is an incredibly busy lady, but she very kindly took the time to talk to CPN about her final thoughts on the 2013 edition of the festival. She explained: “The 63rd edition of the Berlinale is about to come to an end. As far as I can tell this year's festival was once again a great success. By day six there were already about 255,000 tickets sold and we are keen to see how the results of the final days are.”

Dagmar Forelle revealed: “My personal highlight this year was the competition film ‘An Episode in the Life of an Iron Picker’, a dramatic film about a Roma family and their personal struggle for survival in Bosnia-Herzegovina. I was very pleased to hear afterwards that the film was shot with a Canon camera; the EOS 7D as far as I can remember.”

To run the annual Berlinale successfully requires partnerships with a wide variety of sponsors. Forelle explained: “For the Berlinale, as a major cultural event, it is extremely important to find competent partners from the private sector to support the festival financially, as well as with their expertise and innovation in their particular field of business. Winning Canon as a principal partner for the Berlinale Talent Campus was extremely important for us because we felt that Canon would be a great fit to support the initiative with state-of-the-art professional equipment and also to make a great contribution to the programme with their professional expertise.”

She noted: “Canon’s corporate philosophy ‘Kyosei’ – which translates as ‘All people, regardless of race, religion or culture, harmoniously living and working together into the future’ – fits the Berlinale Talent Campus perfectly as this is exactly the purpose of our programme, which aims to support emerging filmmakers from all over the world. Not only were we able to implement Canon into the Berlinale Talent programme with workshops, a Masterclass and the Post-Production Studio, but we were also able to give our ‘Talents’ a chance to get familiar with the technology and particular features of the various [Canon] cameras through different activities.”

Dagmar Forelle concluded: “We are very happy about the collaboration in the first year and are looking forward to building on the foundation that we were able to lay collectively.”

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Feb15

Final thoughts to take home

By Steve Fairclough, Friday February 15, 2013

Four of the 2013 Berlinale Talent Campus participants (clockwise, from top left): Sidi Saleh (Indonesia), Aristotelis Maragkos (Greece), Pierre-Louis Umdenstock (France) and Anda Puscas (Romania) pictured at the ‘Things to Take Home’ event that was held in HAU 2, Berlin, Germany, on 14 February 2013. © Cécile Mella

CPN took the opportunity to grab some final thoughts from four of the 300 participants in the 2013 Berlinale Talent Campus as they attended the ‘Things to Take Home’ session at HAU 2, Berlin, Germany, on 14 February 2013.

Aristotelis Maragkos – a director and production designer from…

CPN took the opportunity to grab some final thoughts from four of the 300 participants in the 2013 Berlinale Talent Campus as they attended the ‘Things to Take Home’ session at HAU 2, Berlin, Germany, on 14 February 2013.

Aristotelis Maragkos – a director and production designer from Greece – said simply: “What I will bring home are some good friendships and inspiration for the future.” Meanwhile Sidi Saleh – a director and cinematographer from Indonesia – joked: “I would like to take the cardboard box seat with me! It is all about connections. I'm not sure if I will be physically working together with them [other Talents] in the future but we will certainly stay in touch over e-mail.”

Anda Puscas – a cinematographer from Romania – said: “What I will be taking back home with me? A hangover... and definitely the inspiring people and the good vibe. It has been overwhelming!” And finally… Pierre-Louis Umdenstock – a director and editor from France – explained: “I will definitely remember having the chance to meet experts in a personal, inspiring atmosphere.”

Talent Campus attendees raise their hands to ask some final questions during the ‘Things to Take Home’ session at HAU 2, Berlin, Germany on 14 February 2013. Pictured at the front (from left to right) are: Talent Project Market Co-ordinator Kathi Bildhauer, Talent Campus Programme Manager Matthijs Wouter Knol and Talent Campus Project Manager Christine Tröstrum. © Cécile Mella

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Feb15

A second chance

By Steve Fairclough, Friday February 15, 2013

Cinematographer Yinka Edward, from Nigeria, was one of the 300 participants in the 2013 Berlinale Talent Campus. © Cécile Mella

Cinematographer Yinka Edward finally got to attend the Berlinale Talent Campus in 2013… as he explained: “I was invited to the Talent Campus four years ago but my visa was denied at the Embassy in Nigeria. This year I was invited to apply again and I got selected. It is nice because some of my…

Cinematographer Yinka Edward finally got to attend the Berlinale Talent Campus in 2013… as he explained: “I was invited to the Talent Campus four years ago but my visa was denied at the Embassy in Nigeria. This year I was invited to apply again and I got selected. It is nice because some of my friends from film school are also here.”

He added: “The information we get in the workshops and lectures at the Campus is very interesting. I am in the Post-Production Studio: it is a hands-on training programme and a big eye-opener for me personally. It also helped me to understand the digital workflow better, which empowered me to make better decisions in relation to deciding whether to shoot with 2K or 4K. My workflow has definitely improved thanks to the Post-Production Studio.”

Yinka revealed: “There has been a major shift to digital in cinematography. In Nigeria there is a huge market for digital production. We produce thousands of films, all digital. Nevertheless I shot my last film on Super 16 film. At the moment I am working on a story that is all about the camera; about the fascination of people for the camera and photography.”

He noted: “My passion brought me to where I am now. As a cinematographer there are certain targets you need to meet. I want to be so good at what I do that I can work anywhere in the world. I wish to have no restrictions.”

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Feb14

The man who photographs the stars

By Steve Fairclough, Thursday February 14, 2013

Since 2003 Gerhard Kassner has been the official Berlin International Film Festival photographer, who takes portraits of the film stars and filmmakers in his studio close to the red carpet. He is shown here in his studio in Berlin, Germany, on 12 February 2013 explaining some of his latest portraits. Kassner uses a Canon EOS-1Ds Mark III DSLR and an EF50mm f/2.5 Macro lens to capture the stars, even though he often has only a matter of minutes, or even seconds, to get the shot. © Cécile Mella


Feb14

The energy and atmosphere…

By Steve Fairclough, Thursday February 14, 2013

Sophie Galibert – a French director who is one of the 300 participants in the 2013 Berlinale Talent Campus – pictured in Berlin, Germany, on 12 February 2013. © Cécile Mella

French director Sophie Galibert has been participating in the 2013 Berlinale Talent Campus and she told CPN: “I have visited the Cannes Film Festival four times and it is a special event to experience. However the Berlinale is so much more open than Cannes in terms of atmosphere and audience. The Talent Campus…

French director Sophie Galibert has been participating in the 2013 Berlinale Talent Campus and she told CPN: “I have visited the Cannes Film Festival four times and it is a special event to experience. However the Berlinale is so much more open than Cannes in terms of atmosphere and audience. The Talent Campus can bring me in contact with the international world of cinema and provides great opportunities to meet the experts and learn from them. It is very nice to meet other ‘Talents’; everyone here has a fully charged battery of good energy.”

She added: “In the past years I have shot various short films by myself, but I am still trying to improve my work and looking to find new contacts – that is why I am here. I met a Dutch composer with whom I would like to do a project. Besides that I would like to know more about international films and the Talent Campus is an ideal way to access a film festival. My plan is to go to other international Talent Campuses in the future as well.”

Sophie explained: “This week I am part of the Post-Production Studio. You can compare the workshop to an internship: it is a good occasion to test new cameras, ask many questions and improve my workflow with the camera. In the near future I hope to find a producer for another short film that I am making.”

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Feb14

Meeting the press

By Steve Fairclough, Thursday February 14, 2013

The press conference for the film ‘Camille Claudel 1915’ in Berlin, Germany, on 12 February. The film is in competition at the 2013 Berlin International Film Festival. Shown (from left to right): producer Muriel Merlin, actor Jean-Luc Vincent, director Bruno Dumont, actor Juliette Binoche and moderator Anatol Weber. © Cécile Mella


Feb13

Matthew Libatique takes time out to talk…

By Steve Fairclough, Wednesday February 13, 2013

Cinematographer Matthew Libatique pictured in the HAU 1 venue, Berlin, Germany, on 12 February 2013. © Cécile Mella

Renowned cinematographer Matthew Libatique – best known for his work with director Darren Aronofsky on ‘Requiem for a Dream’ and ‘Black Swan’ – kindly took some time out of his busy Berlinale Talent Campus schedule to talk to CPN.

When quizzed about his use of the phrase ‘camera language’…

Renowned cinematographer Matthew Libatique – best known for his work with director Darren Aronofsky on ‘Requiem for a Dream’ and ‘Black Swan’ – kindly took some time out of his busy Berlinale Talent Campus schedule to talk to CPN.

When quizzed about his use of the phrase ‘camera language’ Libatique revealed: “It’s everything that goes along in the realm of cinematography – it creates the atmosphere for the movie. It’s a visual framework – it’s like a score. It speaks to composition; it speaks to the lighting; it speaks to colour and ultimately it speaks to the atmosphere and mood of the film, so I’m a firm believer in keeping a consistency.”

Speaking about when he uses Canon DSLRs in his work Libatique explained: “It’s a question of mobility. I shot a test [in a New York subway for ‘Black Swan’] and I approached him [Darren Aronofsky] and said ‘I think we should shoot DSLRs in the subway’. He asked ‘why?’, and I told him I thought it was a good tool for that [shot]; that we’d be able to be more mobile. All we had was the camera, a lens, a bag and a few people – it was just the perfect tool for that kind of clandestine operation.”

Regarding the Berlinale Talent Campus Matthew Libatique stated: “It’s one of the most amazing things I’ve seen in a long time. The discussion is less about celebrity and box office – it’s really about the creativity and the philosophy behind storytelling. The energy is great; as a working cinematographer I’m energised by being here. It’s wonderful. I’d like to come back.”

As to what’s next, after wrapping the film ‘Noah’ in November 2012, he revealed: “It’s going to be an amazing film but I’m taking a bit of a break. I don’t have a project right now; nothing concrete. I am happy to work with commercial directors and make small projects. For me commercials are a chance to re-charge, learn equipment, play and be a little daring.”

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Feb13

Leitner unpacks the Cinema EOS System

By Steve Fairclough, Wednesday February 13, 2013

US independent filmmaker David Leitner discusses the Canon Cinema EOS System during the session ‘Change Your lens: Change Your Story III: Large Sensor Digital Cinema Cameras in Detail’ in the HAU 3 venue of the Berlinale Talent Campus, Berlin, Germany on 13 February 2013. © Cécile Mella

US filmmaker David Leitner presented the final of three workshops in the series ‘Change Your Lens, Change Your Story’ with a close-up examination of the key features of the Canon range of Cinema EOS cameras in the HAU 3 venue on 13 February.

Leitner began by explaining a wide variety of topics including…

US filmmaker David Leitner presented the final of three workshops in the series ‘Change Your Lens, Change Your Story’ with a close-up examination of the key features of the Canon range of Cinema EOS cameras in the HAU 3 venue on 13 February.

Leitner began by explaining a wide variety of topics including the ergonomics of cameras and shooting rigs, viewfinder choices, fan noise and 4K RAW shooting. He then went on to discuss the benefits of Canon EF lenses, Canon EF Cinema lenses and the Canon EOS C500, EOS C300, EOS C100 and EOS-1D C cameras. The features he highlighted included shooting in-camera 4K with the EOS-1D C DSLR, the 4K RAW capabilities of the EOS C500, the AF ability of the EOS C100 and the low light shooting capabilities of the EOS C300.

Leitner explained that he studied cinema history before studying any of the technical aspects of filmmaking and stated: “Whenever I’m behind a camera I’m standing on the shoulders of 100 years of great DPs.”

After the presentation ended the Talent Campus participants then took the chance to examine all of the Canon products at close-hand with the expert help of David Leitner.

Filmmaker David Leitner explains the benefits of Canon EF Cinema lenses during the session ‘Change Your lens: Change Your story III: Large Sensor Digital Cinema Cameras in Detail’ in HAU 3, Berlin, Germany on 13 February 2013. © Cécile Mella

A Talent Campus participant takes a closer look at a Canon Cinema EOS System camera whilst training a CN-E85mm T1.3L F lens on filmmaker David Leitner and a fellow ‘Talent’ (pictured on the screen behind) after the presentation ‘Change Your lens: Change Your story III: Large Sensor Digital Cinema Cameras in Detail’ in HAU 3, Berlin, Germany on 13 February 2013. © Cécile Mella

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Feb13

Loach is guest of honour at British Embassy dinner

By Steve Fairclough, Wednesday February 13, 2013

British film director Ken Loach addresses a specially invited audience, including Talent Campus participants with links to the UK and representatives of Canon Europe, during the ‘Dine & Shine’ dinner hosted by the British Council and the British Embassy at the British Embassy in Berlin, Germany, on 12 February 2013. © Cécile Mella


Feb13

Embracing the digital world

By Steve Fairclough, Wednesday February 13, 2013

Àlvaro Sarmiento – a Peruvian director and cinematographer who is one of the 300 participants in the 2013 Berlinale Talent Campus – pictured in the HAU 3 venue, Berlin, Germany. © Cécile Mella

Berlinale Talent Campus participant Àlvaro Sarmiento is a director and cinematographer who studied film and video production at the Universidad de Lima in Peru and has embraced the world of digital filmmaking.

He revealed: “I am currently developing a training centre called HD Peru, where I…

Berlinale Talent Campus participant Àlvaro Sarmiento is a director and cinematographer who studied film and video production at the Universidad de Lima in Peru and has embraced the world of digital filmmaking.

He revealed: “I am currently developing a training centre called HD Peru, where I train indigenous kids to use the [EOS] 5D Mark II camera. I really believe in the training centre. The digital revolution, in my opinion, has been crucial for filmmakers. Before, we produced no more than 10 independent movies per year in Peru. Thanks to DSLRs we can produce many more. I am promoting the use of digital cameras; it is more economic and speeds up the workflow process. There is still some resistance to the digital system in Peru; people prefer to work with film. Nevertheless I am encouraging new filmmakers to produce digital.”

Àlvaro added: “The reason that I am at the Talent Campus is mainly to meet experts and enlarge my network. I want to find international co-producers to work with in the future. I have made quite a few movies already but I am very motivated to further develop myself, preferably in my own country. My dream would be to win a Golden Bear for a movie about the [more than 50 different groups of] indigenous people in Peru.”

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Feb12

A close-up acting masterclass

By Steve Fairclough, Tuesday February 12, 2013

Kristof Konrad (far left) and Jean-Louis Rodrigue (far right) coach two Talent Campus actors working on a scene from the film ‘Passion Fish’ during the session ‘Change Your lens: Change Your Story II: Close-Up Acting’ in the HAU 3 venue of the Berlinale Talent Campus, Berlin, Germany on 12 February 2013. © Cécile Mella

A masterclass in close-up acting was conducted earlier today by the acclaimed acting coaches Kristof Konrad and Jean-Louis Rodrigue in the second of the three-part series of ‘Change Your Lens, Change Your Story’ workshops, produced in cooperation with Canon, on the Black Stage venue of HAU 3.

Konrad and Rodrigue apply physicality and the…

A masterclass in close-up acting was conducted earlier today by acclaimed acting coaches Kristof Konrad and Jean-Louis Rodrigue in the second of the three-part series of ‘Change Your Lens, Change Your Story’ workshops, produced in cooperation with Canon, on the Black Stage venue of HAU 3.

Konrad and Rodrigue apply physicality and the Alexander Technique to film acting and have worked with film actors including Leonardo DiCaprio, Juliette Binoche, Hilary Swank, Josh Brolin and Helena Bonham Carter. Konrad and Rodrigue began the workshop by warming up the actors with a series of physical movements and then the focus switched to them delivering practical advice to the Talent Campus acting talent.

During an intensive four-hour session a selection of actors taking part in the Talent Campus participated in scenes from famous films, including ‘Passion Fish’ and ‘LA Confidential’, whilst two Canon EOS C300 cameras showed the close-up results to all the participants on TV screens behind.

Warming up at the start of the session ‘Change Your lens: Change Your Story II: Close-Up Acting’ in HAU 3, Berlin, Germany on 12 February 2013. © Cécile Mella

Two Talent Campus actors face each other as they act a scene from the film ‘LA Confidential’ during the session ‘Change Your lens: Change Your Story II: Close-Up Acting’ in HAU 3, Berlin, Germany on 12 February 2013. © Cécile Mella

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Feb12

Canon meets the ‘Early Birds’ for breakfast

By Steve Fairclough, Tuesday February 12, 2013

Canon Europe’s Professional Imaging Communications Manager, Mike Owen (left), and Canon Europe Professional Products Marketing Team Leader, Peter Yabsley (right), talk to two of the Talent Campus participants during the ‘Early Bird Breakfast’ in HAU 2 venue of the Talent Campus in Berlin, Germany, on 12 February 2013. © Cécile Mella

This morning’s Berlinale Talent Campus ‘Early Bird Breakfast’ in the HAU 2 venue gave the Talents an opportunity to find out more about the Canon range of Cinema EOS cameras, EF Cinema lenses and digital camcorders.

Canon Europe’s Professional Imaging Communications Manager, Mike Owen, spoke…

This morning’s Berlinale Talent Campus ‘Early Bird Breakfast’ in the HAU 2 venue gave the Talents an opportunity to find out more about the Canon range of Cinema EOS cameras, EF Cinema lenses and digital camcorders.

Canon Europe’s Professional Imaging Communications Manager, Mike Owen, spoke to the crowd and explained: “Canon being at the Talent Campus is a very important part of our year. Canon has been known as a stills photography company but we do have a history in the motion picture world and in 1973 Canon actually won a technical Oscar® for its lens technology.”

A trailer was then shown demonstrating some of the film projects already shot with the Canon Cinema EOS System and the Talents got the chance to get their hands on the Canon products at a ‘touch and try’ desk just outside the breakfast room.

Some of the 2013 Berlinale Talent Campus participants view a short film about the Canon Cinema EOS System during the ‘Early Bird Breakfast’ in the HAU 2 venue, Berlin, Germany on 12 February 2013. © Cécile Mella

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Feb12

A different view...

By Steve Fairclough, Tuesday February 12, 2013

Ella Manzheeva – a director and scriptwriter from the Republic of Kalmykia who is participating in the 2013 Berlinale Talent Campus – pictured in the HAU 2 venue, Berlin, Germany. © Cécile Mella

Talent Campus participant Ella Manzheeva is a director and scriptwriter from the Russian Republic of Kalmykia, who told CPN: “My main motivation to enter the Talent Campus was to get more knowledge of how to find partners for a fiction film that I am working on. It is currently in the pre-production…

Talent Campus participant Ella Manzheeva is a director and scriptwriter from the Russian Republic of Kalmykia, who told CPN: “My main motivation to enter the Talent Campus was to get more knowledge of how to find partners for a fiction film that I am working on. It is currently in the pre-production phase and I want to learn how to find international partners, as it is hard to find them in the region where I am from. The area where I come from is inhabited by about 150,000 people but has no cinema!”

She explained: “What I like about the Talent Campus is all the different characters and opinions of people from all over the world. I like the open-mindedness of the people here. So far it has been really interesting. It is a good experience for young directors like me; even if you don’t stay connected with all the other Talents you have been inspired and have developed yourself as a filmmaker. I believe that is the general mission of all of us. It is an important time for all the Talents and the atmosphere is great.”

As for the future, Ella revealed: “One of my dreams is to show my culture to the rest of the world. Our native culture is unique; our people are the only native Buddhist people in Europe. I would like to tell [people] about the history of my culture. The only question left is: when will I get the chance?”

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Feb12

Korda advises how to ‘Kill Your Darlings’

By Steve Fairclough, Tuesday February 12, 2013

The crowd listens intently to editor Susan Korda (left of picture) during her presentation ‘Kill Your Darlings’ in the HAU 2 venue, Berlin, Germany on 11 February 2013. © Cécile Mella

Editor and director Susan Korda’s session ‘Kill Your Darlings’ in HAU 2 on 11 February held the audience transfixed as she discussed the craft of film editing and gave her best advice on making tough choices in the edit suite.

Korda told the audience: “Don’t ask yourself whether it makes…

Editor and director Susan Korda’s session ‘Kill Your Darlings’ in HAU 2 on 11 February held the audience transfixed as she discussed the craft of film editing and gave her best advice on making tough choices in the edit suite.

Korda told the audience: “Don’t ask yourself whether it makes sense, because it is an experience. It doesn’t need to make sense. Fear just closes us down, we make rational decisions but it [film] is not a rational art form. Film is much more related to music than it is to a still photograph, because it is art in time.”

She emphasised Academy Award®-winning editor Walter Murch’s six rules for film editing: emotion (51%), story (23%), rhythm (10%), eye-trace (7%), two-dimensional space (5%) and three-dimensional space (4%); adding: “Cutting for emotions is basically what it’s all about.”

Susan Korda said her only rule is: “what works, works,” but she advised that when editing footage editors should always ask themselves the questions: ‘Does it move the story forward? Does it develop the character? Does it reflect the theme?’

She also spoke about the usefulness of getting feedback from test screenings, even though it might be painful to hear their views, and advised you should ask the audience: ‘What did you like? What didn’t you like? Were you bored? Were you confused or distracted?’

Susan Korda discusses editing during her ‘Kill Your Darlings’ session in HAU 2, Berlin, Germany on 11 February 2013. © Cécile Mella

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Feb12

Using sound to tell stories

By Steve Fairclough, Tuesday February 12, 2013

Legendary sound designer and editor Walter Murch – the only person ever to have won an Academy Award® in both the sound mixing and editing categories – pictured during his presentation ‘Sound Design and Storytelling’ in the main theatre of HAU 1, Berlin, Germany on 11 February 2013. Murch explained: “We [humans] start hearing before we do anything else – four-and-a-half months after conception the auditory nerves are connected and the foetus in the womb is hearing the world.” © Cécile Mella


Feb11

Getting the lowdown on the Cinema EOS range

By Steve Fairclough, Monday February 11, 2013

Canon Europe’s Peter Yabsley (standing, centre) explains the Canon Cinema EOS range of cameras to a select group of Talent Campus participants in the HAU 3 venue of the Berlinale Talent Campus, Berlin, Germany on 11 February 2013. © Cécile Mella

A select group of Talent Campus attendees got a ‘hands-on’ chance to discover much more about the Canon Cinema EOS range – including the EOS C300, EOS C500, EOS C100 and EOS-1D C cameras – during a special ‘Meet the Experts’ session with experts from Canon Europe in the Black Stage venue of HAU 3…

A select group of Talent Campus attendees got a ‘hands-on’ chance to discover much more about the Canon Cinema EOS range – including the EOS C300, EOS C500, EOS C100 and EOS-1D C cameras – during a special ‘Meet the Experts’ session with experts from Canon Europe in the Black Stage venue of HAU 3 on 11 February.

Canon Europe’s Mike Owen, Peter Yabsley and Yoshifumi Satake sat down with the Talent Campus participants to explain the capabilities of the C100, C300, C500 and EOS-1D C cameras and the Canon range of EF Cinema prime and zoom lenses.

The session was open for questions and answers and the participants were particularly interested in a number of topics including the maximum aperture values of the EF Cinema lenses, the frame rate and shooting options on each of the Canon cameras and the length of recording times that are possible with CF cards on the cameras.

Talent Campus participants get a closer look at the Canon range of EF Cinema lenses during the ‘Meet the Expert’ session in the HAU 3 venue, Berlin, Germany on 11 February 2013. © Cécile Mella

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Feb11

Leitner talks technical

By Steve Fairclough, Monday February 11, 2013

US independent filmmaker David Leitner pictured explaining the sensor of the Canon EOS C300 camera during the session ‘Change Your Lens, Change Your story I: Intro to Large Sensor Digital Cinema Cameras’ in the HAU 3 venue of the Berlinale Talent Campus, Berlin, Germany on 11 February 2013. © Cécile Mella

The first of a three-part series of workshops entitled ‘Change Your Lens, Change Your Story’ saw acclaimed independent US filmmaker David Leitner delivering a detailed introduction to large sensor digital cinema cameras on the Black Stage venue of HAU 3 on 11 February.

Leitner went ‘back to the future’ to give a history lesson on…

The first of a three-part series of workshops entitled ‘Change Your Lens, Change Your Story’ saw acclaimed independent US filmmaker David Leitner delivering a detailed introduction to large sensor digital cinema cameras on the Black Stage venue of HAU 3 on 11 February.

Leitner went ‘back to the future’ to give a history lesson on cinema formats, from the invention of flexible film in 1889 right up to today’s sophisticated 4K digital cameras. He then went on to discuss a wide range of topics from sensor sizes to the advantages of having the wide range of Canon EF lenses compatible with the Canon range of Cinema EOS cameras – the EOS C500, EOS C300, EOS C100 and EOS-1D C.

After the session CPN spoke to David Leitner about the Canon Cinema EOS range of cameras and he said: “The Canon cameras, in particular the C300 and the C500 are both superb cameras. If you shot with high-end lenses the result would be the equal of any camera out there. For a camera company that hasn’t historically made cinema cameras that’s quite an accomplishment in such a short time.”

Filmmaker David Leitner discusses the benefits of shooting architectural footage using Canon tilt-shift EF mount lenses during the session ‘Change Your lens, Change Your story I: Intro to Large Sensor Digital Cinema Cameras’ in HAU 3, Berlin, Germany on 11 February 2013. © Cécile Mella

David Leitner pictured outside the HAU 3 venue of the Berlinale Talent Campus, Berlin, Germany on 11 February 2013. © Cécile Mella

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Feb11

Another step in the right direction...

By Steve Fairclough, Monday February 11, 2013

Finnish director Joonas Rutanen, one of the 300 participants in the 2013 Berlinale Talent Campus, pictured in the HAU 2 venue, Berlin, Germany on 11 February 2013. © Cécile Mella

Joonas Rutanen is a young director from Finland who is amongst the 300 ‘Talents’ attending the 2013 Berlinale Talent Campus. He explained: “My main motivation to enter [the Campus] was the networking. Of course you can say that for any [film] festival, but the advantage of the Berlinale Talent…

Joonas Rutanen is a young director from Finland who is amongst the 300 ‘Talents’ attending the 2013 Berlinale Talent Campus. He explained: “My main motivation to enter [the Campus] was the networking. Of course you can say that for any [film] festival, but the advantage of the Berlinale Talent Campus is that you get to meet a big amount of people that are on the same level; not students anymore, but not highly experienced yet either. Still, they are all very professional.”

He added: “This week one of my goals is trying to achieve knowledge on international funding, distribution and co-productions. So far I am really enjoying it. It was great that [director] Wong Kar Wai came to the opening night where they were screening his latest movie ‘The Grandmaster’.”

Joonas revealed: “In the near future I want to focus on doing a feature film, which will take quite some time in terms of funding etc. But in the meantime I will be working on smaller projects because you should always keep on developing yourself... if you sit still, you can forget about it.”

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Feb10

The art of the cinematographer

By Steve Fairclough, Sunday February 10, 2013

Pictured (from left to right): Philippe Le Sourd, Jan Schütte and Matthew Libatique on-stage during the session ‘Speaking In images: The Cinematographers’ Perspective’ in the HAU 1 venue of the Berlinale Talent Campus, Berlin, Germany on 10 February 2013. © Cécile Mella

Top cinematographers Matthew Libatique and Philippe Le Sourd explained their work in-depth during a lively and often humorous Talent Campus session ‘Speaking In images: The Cinematographers’ Perspective’ in HAU 1 on 10 February.

The discussion was moderated by Jan Schütte (Director of the…

Top cinematographers Matthew Libatique and Philippe Le Sourd explained their work in-depth during a lively and often humorous Talent Campus session ‘Speaking In images: The Cinematographers’ Perspective’ in HAU 1 on 10 February.

The discussion was moderated by Jan Schütte (Director of the Berlin Film School), and he first quizzed Matthew Libatique about his collaborations with director Darren Aronofsky and, in particular, his work on ‘Black Swan’. Libatique revealed that a scene involving the lead character dancing in front of mirrors eventually involved a lot of post-production ‘painting out’, but to get the original sense of the scene he told Aronofsky: “’Why don’t we just take the [EOS] 5D [Mark II] and we’ll shoot everything the choreographer does with her and just watch it?’” He added: “Because of that we were able to find the rhythm of her movement.”

The focus then switched to Phillippe Le Sourd and his work on the movie ‘The Grandmaster’ with director Wong Kar Wai. Le Sourd revealed the creative process was long and challenging, but ultimately rewarding, as shooting evolved over months and years rather than a set time.

In a Q&A session after the on-stage discussion Matthew Libatique summed up by saying: “This Talent Campus exists because the opportunity exists out there to be able to find people to finance to your films; to find other creative people to connect with.”

Cinematographer Matthew Libatique makes a point during the ‘Speaking In images: The Cinematographers’ Perspective’ session in the HAU 1 venue of the Berlinale Talent Campus, Berlin, Germany on 10 February 2013. © Cécile Mella

The audience watch clips of work by cinematographers Matthew Libatique and Philippe Le Sourd in the HAU 1 venue of the Berlinale Talent Campus, Berlin, Germany on 10 February 2013. © Cécile Mella

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Feb10

Creating stories for a 21st century audience

By Steve Fairclough, Sunday February 10, 2013

Transmedia author Michel Reilhac pictured during the session ‘The Indie Filmmaker’s Guide to Cross Media I: Interactivity and Immersion – Creating Stories for 21st Century Audiences’ in the HAU 3 venue, Berlin, Germany on 10 February 2013. Reilhac explained that young filmmakers need to work with different media to film – such as mobile apps, games, websites and interactive video – to produce interactive projects that are relevant to a 21st century audience. © Cécile Mella


Feb10

The Survival Guide to Digital Workflows

By Steve Fairclough, Sunday February 10, 2013

Dirk Meier (left) and Birgit Gudjonsdottir (right) guide the audience through the digital workflow in the HAU 3 venue of the Berlinale Talent Campus, Berlin, Germany on 10 February 2013. © Cécile Mella

Director of photography Birgit Gudjonsdottir and digital imaging supervisor Dirk Meier spent over 90 minutes explaining their best advice for navigating a safe path through the digital workflow process in their session 'The Survival Guide to Digital Workflows' in HAU 3 on 10 February.

In a wide-ranging presentation they covered many topics including…

Director of photography Birgit Gudjonsdottir and digital imaging supervisor Dirk Meier spent over 90 minutes explaining their best advice for navigating a safe path through the digital workflow process in their session 'The Survival Guide to Digital Workflows' in HAU 3 on 10 February.

In a wide-ranging presentation they covered many topics including data wrangling on set, QC (Quality Control), digital dailies, editing, VFX, conforming, rendering and grading with examples from films they’ve worked on, including ‘Our Grand Despair’, ‘Long Shadows’ and ‘Antichrist’.

Birgit Gudjonsdottir stressed that she felt it is also important to have some knowledge of analogue workflow: “We are at a place where we are going to use more and more digital cameras but I still think film is not going to die. I hope there will be films that will be working on analogue, but as a source material. Something we all love is going to the digital workflow; digital grading… we can do everything there – that’s the future and it’s here already.”

Dirk Meier told CPN: “Digital cameras surpass the light sensitivity of any film stock and are surpassing the resolution of 35mm, once you print it to film. It [digital] gives you the possibility to have crisp, super-pristine images and, if you are limited in terms of lighting budgets, or whatever, it also allows you to go into places where it was hard to bring a 35mm camera and see something. That’s also an advantage.”

Birgit Gudjonsdottir (left) and Dirk Meier (right) pose for CPN following their presentation ‘The Survival Guide to Digital Workflows’ held in the HAU 3 venue of the Berlinale Talent Campus, Berlin, Germany on 10 February 2013. © Cécile Mella

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Feb10

Verhoeven takes to the stage

By Steve Fairclough, Sunday February 10, 2013

Film director Paul Verhoeven pictured during his session in the HAU 1 venue of the Berlinale Talent Campus, Berlin, Germany on 10 February 2013. © Cécile Mella

Dutch film director Paul Verhoeven – best known for ‘Robocop’, ‘Total Recall’ and ‘Basic instinct’ – packed out HAU 1 on the morning of 10 February for his Berlinale Talent Campus session ‘Follow Your Instincts: Filmmaking According to Paul Verhoeven’.

In a candid session Verhoeven discussed the difficulties of…

Dutch film director Paul Verhoeven – best known for ‘Robocop’, ‘Total Recall’ and ‘Basic instinct’ – packed out HAU 1 on the morning of 10 February for his Berlinale Talent Campus session ‘Follow Your Instincts: Filmmaking According to Paul Verhoeven’.

In a candid session Verhoeven discussed the difficulties of making ‘Basic Instinct’ and revealed that one of his main inspirations for the look of the film was British artist David Hockney’s paintings of the swimming pools of California... this led Verhoeven to give ‘Basic Instinct’ a film noir-look, but with blues and whites rather than the black-and-white look that is traditionally associated with film noir.

Verhoeven gave the attending Talent Campus participants some closing advice: “You should never do the same thing as a director – I think you should radically do something new and different every time. Jump into the unknown.”

Paul Verhoeven’s presentation was the first of a series of 2013 Berlinale Talent Campus events that will be live streamed on this CPN Berlinale Talent Campus blog page every day up to, and including, 14 February. Just click on the live stream schedule on the right hand side of this page to find what is being shown and when. Please note that some of the live streams may go blank for a while as film clips are being shown during the presentations.

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Feb09

Top filmmakers attend official Talent Campus opening

By Steve Fairclough, Saturday February 9, 2013

Pictured before the start of the official opening ceremony of the 2013 Berlinale Talent Campus in the HAU 1 venue, Berlin, Germany on 9 February 2013: (from left to right): director of photography Matthew Libatique, sound engineer and editor Walter Murch, Christine Tröstrum (Talent Campus Project Manager), Annemie Vanackere (Artistic Director, Hebbel am Ufer, Berlin), film director Paul Verhoeven, filmmaker Yasemin Samdereli and Matthijs Wouter Knol (Talent Campus Programme Manager). © Cécile Mella

The official opening ceremony of the 2013 Berlinale Talent Campus got underway late in the afternoon of 9 February and attracted some of this year’s big name experts including film director Paul Verhoeven, legendary sound engineer and editor Walter Murch and top director of photography Matthew Libatique.…

The official opening ceremony of the 2013 Berlinale Talent Campus got underway late in the afternoon of 9 February and attracted some of this year’s big name experts including film director Paul Verhoeven, legendary sound engineer and editor Walter Murch and top director of photography Matthew Libatique.

The ceremony began with Talent Campus Project Manager Christine Tröstrum and Programme Manager Matthijs Wouter Knol presenting the highlights of this year’s Campus, which has the theme ‘Some like It Hot: Filmmakers as Entertainers’.

The introductions were followed by the announcement of the winners of the 2013 Robert Bosch Stiftung (Foundation) Germany/Arab World Film Prize. In the Short Fiction Film category the award went to the German-Lebanese collaboration ‘Free Range’, whilst the two awards in the documentary category went to the German-Moroccan collaboration ‘A Place Under the Sun’ and ‘Three Mile Riders’, which was produced by a team from Germany, Egypt and the Palestinian Autonomous Territories.

Following that a packed audience in HAU 1 – the historic Hebbel Theatre – settled down to view a screening of former Campus alumna Neus Ballús’ film ‘The Plague’, which is also in the official Berlinale screening programme.

The winners of the 2013 Film Prize of the Robert Bosch Stiftung (Foundation) Germany/Arab World pictured onstage in the HAU 1 venue, Berlin, Germany during the official opening ceremony of the Berlinale Talent Campus on 9 February 2013. © Cécile Mella

The audience in the HAU 1 venue, Berlin, Germany during the official opening ceremony of the Berlinale Talent Campus on 9 February 2013. © Cécile Mella

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Feb09

Getting to know you…

By Steve Fairclough, Saturday February 9, 2013

Most of the Talent Campus participants took part in the ‘Global Speed Matching’ session in the HAU 2 venue of the Berlinale Talent Campus, Berlin, Germany on 9 February 2013. © Cécile Mella

What’s known as ‘Global Speed Matching’ is the Berlinale Talent Campus’ version of speed dating and it proved to be a highly effective way to get the Campus participants talking to one another on day one of the event.

Just two minutes of chat were allowed before Talent Campus Programme Manager…

What’s known as ‘Global Speed Matching’ is the Berlinale Talent Campus’ version of speed dating and it proved to be a highly efficient way to get the Campus participants talking to one another on day one of the event.

Just two minutes of chat were allowed before Talent Campus Programme Manager Matthijs Wouter Knol honked a horn and the outer row of ‘daters’ moved on one space clockwise.

The idea is to get Campus attendees accustomed to meeting new people and introducing themselves and their work succinctly. Following the initial Global Speed Matching event in HAU 2 on Saturday 9 February more specific sessions will take place at 12:30 (CET) in HAU 2 on the next four days of the Talent Campus and at 16:00 (CET) on 14 February.

An intense discussion during the ‘Global Speed Matching’ session in the HAU 2 venue of the Berlinale Talent Campus, Berlin, Germany on 9 February 2013. © Cécile Mella

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Feb09

A world of talent...

By Steve Fairclough, Saturday February 9, 2013

Production Supervisor Christian Eid, from Lebanon, pictured in front of portraits of fellow Talent Campus participants at the ‘Early Bird Breakfast’ in the HAU 2 venue of the Berlinale Talent Campus, Berlin, Germany on 9 February 2013. © Cécile Mella

With 300 participants from 96 countries taking part in the 2013 Berlinale Talent Campus there is a wide array of film industry talent from around the world coming together and during the first ‘Early Bird Breakfast’ CPN met Christian Eid, who works as a Production Supervisor for Abbout Productions in…

With 300 participants from 96 countries taking part in the 2013 Berlinale Talent Campus there is a wide array of film industry talent from around the world coming together and during the first ‘Early Bird Breakfast’ CPN met Christian Eid, who works as a Production Supervisor for Abbout Productions in Beirut, Lebanon.

Christian told CPN: “I was at a festival in Doha, Qatar, and I heard about the Talent Campus. I knew that it’s where people who have a career in cinema, and want to develop it, go – that’s why I chose to submit [an application]. I’m looking to meet many people. I have a short film that I’m producing, so I’m hoping some people might be able to help me with financing and the production process. I’m a beginner in the industry so it’s good to meet people from any field.”

It’s Christian’s first time at the Berlinale Talent Campus and he revealed: “My ambition is to help the film industry in Lebanon to develop faster. If we have an industry that is well-built and well-structured we can have job opportunities and good movies.”

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Feb09

Closer to the edit...

By Steve Fairclough, Saturday February 9, 2013

Participants in the Editing Studio of the Talent Campus have an introductory meeting in the HAU 3 venue, Berlin, Germany on 9 February 2013. The Editing Studio, with renowned film editor Susan Korda amongst the guest experts, is one of many smaller groups receiving ‘hands-on’ training from established industry professionals. These include the Sound Studio, Script Station, Doc Station, Talent Project Market, Post-Production Studio, Talent Press, Talent Actors Stage and the Short Film Station. © Cécile Mella


Feb09

The ‘Early Birds’ meet for breakfast

By Steve Fairclough, Saturday February 9, 2013

Berlinale Talent Campus Project Manager Christine Tröstrum (centre, left) and Talent Campus Programme Manager Matthijs Wouter Knol (centre, right) deliver short introductory speeches during the ‘Early Bird Breakfast’ in the HAU 2 venue of the Talent Campus in Berlin, Germany, on 9 February 2013. © Cécile Mella

The six-day Berlinale Talent Campus got underway this morning with an ‘Early Bird Breakfast’ for the 300 participants, who descended upon the HAU 2 venue in Berlin to pick up their accreditations and enjoy some early morning food.

Berlinale Talent Campus Project Manager Christine Tröstrum…

The six-day Berlinale Talent Campus got underway this morning with an ‘Early Bird Breakfast’ for the 300 participants, who descended upon the HAU 2 venue in Berlin to pick up their accreditations and enjoy some early morning food.

Berlinale Talent Campus Project Manager Christine Tröstrum told CPN: “We received more than 4,400 applications from 130 countries [for the Talent Campus]. The most applications come from Germany, the UK and the US. We are looking for filmmakers early in their careers.” The 300 selected participants are a mixture of up-and-coming editors, cinematographers, producers, screenwriters, directors, sound engineers, actors and more – basically those working professionally in the film industry – who get a unique chance to meet and interact directly with leading lights from the film industry.

Christine and Talent Campus Programme Manager Matthijs Wouter Knol addressed the crowd and explained that the reach of the Talent Campus also goes far beyond Berlin. Matthijs explained: “You have been selected for the Berlin Talent Campus but you might make note that we have five other Talent Campus programmes in other continents as well.” The additional Talent Campus events are held in Guadalajara (Mexico), Durban (South Africa), Buenos Aires (Argentina), Sarajevo (Bosnia Herzegovina) and Tokyo (Japan).

Some of the 2013 Berlinale Talent Campus participants pictured picking up their accreditations in the HAU 2 venue of the Berlinale Talent Campus, Berlin, Germany on 9 February 2013. © Cécile Mella

The Berlinale Talent Campus participants settle down to enjoy the ‘Early Bird Breakfast’ at the HAU 2 venue in Berlin, Germany, on 9 February 2013. © Cécile Mella

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Feb08

The Post-Production Studio challenge begins...

By Steve Fairclough, Friday February 8, 2013

Digital workflow expert Dirk Meier explains the technical aspects of Bayer pattern digital sensors during the Post Production Studio Intro session at the Haus der Kulturen der Welt, Berlin, Germany on 8 February 2013. © Cécile Mella

A select group of 20 of the Berlinale Talent Campus’ ‘Talents’ have begun the digital workflow challenge of the Post-Production Studio which has seen them split into four groups to shoot, ingest, grade and edit short films that will be shown next Thursday – 14 February 2013 – at the DFFB…

A select group of 20 of the Berlinale Talent Campus’ ‘Talents’ have begun the digital workflow challenge of the Post-Production Studio which has seen them split into four groups to shoot, ingest, grade and edit short films that will be shown next Thursday – 14 February 2013 – at the DFFB Film Academy in central Berlin.

The group met this morning for a technical briefing by digital colourist and post-production consultant Dirk Meier at the spectacular Haus der Kulturen der Welt building in Berlin. Meier unpacked the digital workflow by discussing software packages, cameras (each group will be shooting with an EOS 5D Mark III), recording media, grading, transcoding, sensors, colour sampling, colour depth, recording and compression of footage.

As well as Dirk Meier the participants are also being mentored throughout the Post-Production Studio days by cinematographer Birgit Gudjonsdottir (who won Best Director of Photography for her work on ‘Our Grand Despair’ at the 2011 Istanbul Film Festival). Following a morning of technical talk the four groups spent the afternoon learning about shooting footage for their different projects.

Dirk Meier and Birgit Gudjonsdottir will be presenting ‘The Survival Guide to Digital Workflows’ in the HAU 3 venue of the Berlinale Talent Campus at 11:00 (CET) on Sunday 10 February.

Participants in the Post-Production Studio element of the Berlinale Talent Campus take notes during the afternoon session at the Haus der Kulturen der Welt, Berlin, Germany on 8 February 2013. © Cécile Mella

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Feb08

Smile please!

By Steve Fairclough, Friday February 8, 2013

Photographer Jörg Kyas (right) pictured taking a portrait of one of the Berlinale Talent Campus participants, US actress Mozhan Marnò, at the Berlinale Service Centre, Berlin, Germany, on 8 February 2013. © Cécile Mella

German people and fashion photographer Jörg Kyas is over halfway through his mission to photograph all 300 of the participants in the 2013 Berlinale Talent Campus. Armed with a Canon EOS-1D X DSLR and an EF24-70mm f/2.8L II USM zoom lens for the past three days Jörg has been busy taking stylish…

German people and fashion photographer Jörg Kyas is over halfway through his mission to photograph all 300 of the participants in the 2013 Berlinale Talent Campus. Armed with a Canon EOS-1D X DSLR and an EF24-70mm f/2.8L II USM zoom lens for the past three days Jörg has been busy taking stylish portraits, which are then processed using Canon’s Digital Photo Professional software and printed out via a Canon PIXMA PRO-1 printer on Pro Platinum paper.

As well as the printed results a regularly updated gallery of the portraits will be published on this CPN Berlinale Blog page throughout the event – just click on the ‘Berlinale Portraits’ link on the right hand side of this page to view the portraits. The images will also be shown in HAU 1 of the Talent Campus venue in central Berlin before the official opening of the Talent Campus on the afternoon of 9 February.

On Saturday 9 February and Sunday 10 February Jörg Kyas’ studio will be located in the basement of the HAU 3 venue of the 2013 Berlinale Talent Campus for those who have not yet been in front of the lens!

One of Jörg Kyas’ assistants works on a portrait image on a computer as another portrait prints out in the Berlinale Service Centre, Berlin, Germany, on 8 February 2013. © Cécile Mella

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Feb08

Roll out the red carpet...

By Steve Fairclough, Friday February 8, 2013

Actors Tony Leung (waving) and Zhang Ziyi arrive on the red carpet outside the Berlinale Palast venue, Berlin, Germany on 7 February 2013 for the gala screening of the movie they star in ‘The Grandmaster’, directed by Wong Kar Wai. © Cécile Mella

As snow began to fall on the red carpet the 63rd Berlin International Film Festival – aka Berlinale – opened last night with a gala screening of ‘The Grandmaster’, directed by this year’s Berlinale jury chairman Wong Kar Wai, at the Berlinale Palast venue in central Berlin.

The red carpet was trodden by…

As snow began to fall on the red carpet the 63rd Berlin International Film Festival – aka Berlinale – opened last night with a gala screening of ‘The Grandmaster’, directed by this year’s Berlinale jury chairman Wong Kar Wai, at the Berlinale Palast venue in central Berlin.

The red carpet was trodden by some of the film world’s glitterati including movie stars Jane Fonda, Isabella Rossellini, Tim Robbins, Tony Leung and Zhang Ziyi. Whilst the established stars were taking the limelight 300 of the filmmakers of tomorrow had already arrived in Berlin to attend the 11th edition of the Berlinale Talent Campus part of the festival, which takes place from 9 to 14 February.

The Talent Campus brings together young talents from around the world and gives them the platform to meet with experienced film industry professionals to gain knowledge from masters in the craft of filmmaking. CPN will be blogging about the Talent Campus throughout the event…

Photographers check out their shots as Berlinale jury member Tim Robbins arrives on the red carpet and is projected on a big screen behind them outside the Berlinale Palast, Berlin, Germany on 7 February 2013. © Cécile Mella

Autograph hunters try to attract film stars to sign for them outside the Berlinale Palast, Berlin, Germany on 7 February 2013. © Cécile Mella

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Calendar - Feb 2013

  • Friday - 08 Feb
  • Saturday - 09 Feb
  • Sunday - 10 Feb
  • Monday - 11 Feb
  • Tuesday - 12 Feb
  • Wednesday - 13 Feb
  • Thursday - 14 Feb
  • Friday - 15 Feb

Berlinale Portraits

Berlinale Talent Campus attendees portraits by Jörg Kyas – Canon Studio.

CPN Team

  • Steve Fairclough

    CPN Editor-in-Chief
  • Cécile Mella

    Photographer

    © David Graham