«Making an analog film in the digital age»

The advent of digital techniques has not changed the nature of analogue audiovisual, but has simply made the interface of devices necessary for its implementation more flexible. This is how new audiovisual practices dynamite the preconceived frameworks of our relationship to the image and overturn all criteria relating to cinema. Making a film today, when we are witnessing a recomposition of social and political ties through streams of images which, at the speed of hundreds of hours per second, fill our screens, could seem superfluous, even futile. To go against this overbidding, the training proposes a double transversal approach. Firstly, to understand and practice the digital post-production device, in all its magnitude, by browsing and explaining the evolution of the cinematographic image in its history. Secondly an introduction to filmmaking through the personal development of a film project in its entirety. This is how we will have to retain cinematographic categories allowing us to understand the relationship between transparency and opacity of the medium, in order to reconnect with the formal issues in the filmmaking of the project. This and the particularities of filming in Super 8 B&W, close to the origins of the medium itself, will allow us to lay the foundations of the film to be made.


The training is aimed at anyone wishing to acquire the framework of artisanal production of a film in silver support, benefiting from digital post-production.

Participants must have a film project intended to be produced in Super 8 B&W, whatever the genre and duration.

Educational goals:

- Appropriate the artisanal production framework of analog cinema.
-Acquire the necessary knowledge to apply within a digital post-production interface (Davinci Resolve), in the full extent of the software.

Program of the training:

Two specific sessions spread over the first week of training give rise to three weeks of 4 simultaneous shoots.
    The first is the realization of an exquisite corpse which aims to promote the first contact with the analog medium, while developing an exponential overview of digital means, in order to grasp the metafactual specificity of the images that this technology puts in relief.
    The second has as its starting point the Godardian watchword: "... us with the cinema, it's something else [...] and here I take the opportunity to tell you that, coincidentally, the only great problem of cinema seems to me to be where and why to start a shot…”, which will help us to understand the exponential potential that abounds in the premises of the beginning of a film.
    The synergy maintained in the simultaneous filmmaking of four projects, in which we participate at different levels, enriches and fulfills this approach.

Teaching methods and materials:

If all practical learning is based on the transversality of the approach: you learn by carrying out your own project, the training is accompanied by the viewing of a film corpus divided into three axes. The first concerns a relatively broad idea of cinema history, the second shows a cinema whose formal concern develops in cultural issues, and the third analyzes forms close to aporias.

Technical means:

Each participant will have at their disposal a wide choice of Super8 cameras, as well as the means of developing 30 m of film per bath. A wide choice of sound recording material is also available, as is a digital editing station per participant. A professional film transfer system, the Filmfabriek HDS+ 4K, is also available for the group.


The film made during the training could, on its own, or in a joint program, be subject to a legal framework in contractual agreement with each participant, CAE 29 Chrysalide, and Umlicht Films. The film thus produced, depending on its duration, could be submitted to festivals through the Unifrance network, as well as a possible sale to television channels or a theatrical release. Each participant can also develop the life of their film outside of this framework if they wish.

Trainer profile:

Mauricio Hernández, researcher in visual anthropology and art history, director, editor, and colorist, has made around thirty films since 1993, including six feature films. Former temporary teaching and research assistant at the EHESS, he has been teaching cinema in film or digital media since 2007. He is president of Umlicht Films.

Practical information and organizational arrangements

Number of participants:
4, including a scholarship (only accommodation and catering costs are the responsibility of the participant).

Training location for the 2022 summer session:

35, rue d'Estienne D'Orves, 29100 Douarnenez.

Duration and dates of the training:

The duration of the training is 182 hours,
154h of educational contribution + 28h project.
That is 35h/week + 1 day from August 1 to 30, 2022.


9 a.m. - 5 p.m. Monday to Friday.

Pedagogical cost of the training:
6085 € /Trainee.

Accommodation cost:

€750 For one-room accommodation in the training location itself and lunches on training days in the workers' restaurant Le Flimiou.

Accessibility for people with disabilities:
Do not hesitate to tell us about your situation. We will analyze any request in order to determine the necessary and possible adaptations.


It is possible to fund your training through Afdas.
One of the four projects selected will be produced entirely by Umlicht Films (excluding accommodation and catering costs payable by the participant).

1 Alez ar waremm 29000 QUIMPER
02 98 66 09 99 - - www.cae29.coopSiret : 44390356200066 APE : 7830ZDéclaration d’activité enregistrée sous le n° 53290812329 auprès du Préfet de la Région Bretagne.
(Ce n° ne vaut pas agrément de l’Etat)