ApostLab, supported by Creative Media, one of Europe’s most coveted programs for post supervisors and producers to learn the basics of post-production, is being held for the first time as a bi-city event in Helsinki and Tallinn.
With support from the Finnish Film Institute and the Estonian Film Institute, the project-based program will be rolled out in each capital city over three days from November 13th to 19th, and the Tallinn-based training will be presented at the Discovery Campus as part of the Black Nights Film Festival’s Industry@Tallinn & Baltic event.
ApostLab Managing Director Mauricio Romero Tunaroza said it felt “natural” to hold the first bi-city workshop between Finland and Estonia, given the proximity of the neighboring countries (just a two-hour ferry ride) and strong industry ties.
“APostLab is a very unique workshop in its approach to filmmaking,” said Lasse Saarinen, CEO of the Finnish Film Foundation, which supports up to two international industry trainings a year. “It made sense for us to be a part of it because post-production is a field that is technologically changing and constantly in transition, and most importantly because it brings producers and post-production together.”
Edith Sepp, director of the Estonian Film Institute, agreed with him. “For us, being part of APostLab is very important. The Estonian film industry is small, but full of creativity, and grows through collaboration. Working with our Finnish partners through APostLab brings people closer together, a space where experiences can move freely across borders. “We love that it unites our professionals and shows how strong we can be, especially when we Finno-Ugrians work together,” she added. “And also to the rest of Scandinavia and the Baltics, Estonia has a lot to offer not only creatively but also technologically.”
Commenting on reinventing the Post in the digital and AI era, Sepp commented: “The industry has changed a lot. Everything is moving so fast, budgets are getting tighter, and technology continues to evolve. Producers and post-production supervisors are really the backbone of production, and they need not only the confidence but also the skills to manage all these new demands. APostLab Training and exchange programs like these are invaluable because they don’t just teach; they create new meaning, bring people together, and build trust. It’s also important to emphasize that they are doing their part to help create a common language between creatives and technologists in the region. By doing so, the local industry will become stronger and recognized around the world. ” she said.
During the six-day residential workshop, more than 20 participants will hone their skills in all technical, financial and creative aspects of post-production in an international co-production environment in Europe. In our popular sessions, producers work with post supervisors to design post-production workflows, schedules, and budgets for specific projects. There will be separate sessions covering sound and design, VFX and AI.
Two sessions will be held at the Discovery Campus in Tallinn in collaboration with Industry @Tallinn & Baltic Event. On November 19th, former Netflix technician and color grading specialist Edmund Rachcon will speak about visual development and the importance of establishing good communication with the Head of Department (HOD) before filming. Remus, on the other hand, focuses on cutting corners for small budgets.
“There’s always the option to cut corners, but just like with a screenplay, people really need to know what they’re doing so as not to compromise the quality of the project. First you have a clear understanding of the schedule and budget, and only then can you think about how to cut corners. Cutting corners first and then thinking about how to make it work is frankly a recipe for failure,” Remus warned.
Estonian road
Regarding the peculiarities of post production in smaller markets, Remus said, “Like Estonia, they tend to have smaller post vendors and infrastructure, but they are often well qualified.” He stressed the need for public authorities to require foreign producers to receive tax refunds and spend a significant portion of their production costs on local post-production to protect freelancers. “Otherwise, a lot of talented people will go elsewhere.”
Three ApostLab participants shared their first-hand experiences and the pros and cons of post-production in Estonia.
“Estonia has great post-production capabilities, which are still somewhat underrated,” said Munika Rydan, post-supervisor and editor of the two feature films that were screened at the Black Nights Baltic Film Competition, “Frank” and “New Money.” “This industry is known for its cost-effective, flexible and solution-oriented mindset. Local VFX companies like FrostFX, which won an Emmy this year for the HBO series Penguin, have gained international recognition and continue to push the boundaries of technology. Although there are a small number of professionals working only as post-production supervisors, the human resources and infrastructure are in place and there is real potential for growth in this field. ” she said.
Up-and-coming producer Inger Puder (Homeless Bob), who is joining APostLab on Teresa Veri’s directorial debut, The White Ship, completely agrees with Rydan about the country’s competitive organization, but there is also a lack of professional post supervisors. “I myself have done this work in the past as an in-house production coordinator, and that experience opened my eyes to the fact that this job requires even more specialization. That’s why I think it’s great that APostLab is focusing more on Finland and Estonia and giving this job more attention.”
Evgeni Supin, a leading Estonian producer at the rapidly expanding Zorba Productions, whose credits include the international historical series “Von Fock” and the highly anticipated Estonian-Ukrainian drama “My Dear Mother,” says holding a variety of positions, from floor manager to set assistant to editor to director, has helped him become a better producer. “I’m familiar with all aspects of post-production, and I understand how long everything takes, what’s shallow, where the problems are, so that’s a big advantage for me. But these days, I’m realizing that that’s not enough,” he added. Working on international projects with greater demands requires a range of more fine-tuned skills. This is why APostLab is a great place to learn. ”
Supin said that with all projects, language is also an issue, and keeping posts local is the first choice. However, securing talented staff and human resources can be a problem. “Estonia is a small market and the best professionals are in high demand, not just in post, so you have to plan ahead. It’s both a blessing and a curse that Estonia and the Baltics have become popular filming locations,” he observes.
At APostLab, Supin will present “Let It Snow,” a high-end TV project co-produced with Finland’s Take Two Studios. The former Baltic TV Beats Forum president and producer hopes the crime show ordered by Baltic streamer Go3 will launch late next year. This light crime comedy tells the story of a kind-hearted but eccentric Estonian family man who by chance becomes the sole leader of Helsinki’s entire cocaine trade.
“The concept and script must be evaluated by a qualified post-supervisor,” Supin said. “You don’t need a lot of obvious effects or complex set pieces to create the world, but you do need a lot of action and cleanup. You’ll also need support in finding different visual solutions, perhaps animation for fast montage scenes. You’ll need to understand which method makes more economic sense to take.”
tips
Summarizing for Variety the key facts producers should keep in mind when it comes to post-production, Remus offered three tips.
With a thorough understanding of post-production, you’ll be able to communicate the creative goals of the project with everyone involved, and discuss them with everyone during pre-production and financing stages.
Find a good partner or professional, not just someone who meets your requirements because they have an address where you want to spend your money. Find them early and involve them in planning to properly balance resources.
Understand the fact that post-production is an important part of storytelling. Therefore, work with a post specialist as soon as possible and get involved during the execution of the post.
Neeltje van der Heijden, ApostLab Program Manager and Post Production Supervisor, added: “Our motto is, ‘Submit before you shoot!’ And that’s the heart of it. Of course, it’s important for producers to hire post experts because it benefits the entire process, including the budget. But I’d also add: Think of pre-production, production, and post-production as one holistic thing. Connect all departments, respect everyone’s expertise, and communicate effectively.”
