— blog – Tilman Holzhauer

The wonderful documentary EVERYONE IN HAWAII HAS A SIXPACK ALREADY, directed by Marvin Hesse and color graded by me at our color grading suite @Der Salon Coworking started off it’s festival journey with the world premiere at the International Film Festival Rotterdam 2018 and was also shown at DOKUMENTAMADRID 2018, IberoDocs 2018 in Scotland, CineLatino Tübingen, D’A Filmfestival Barcelona 2018 and Dokumentarfilmwoche Hamburg 2018.


Watch the trailer:

FREAKING OUT!! The fictional feature ‚Millennials‘, directed by Jana Bürgelin and color graded by me at our color grading suite @Der Salon Coworking is going to hit it off at this years Berlin International Film Festival BERLINALE!



‘Holy Zoo’ is arriving at the big cities!



It will be screened at the New York Other Israeli Film Festival 2016,
sreening date:

4 December 2016 | 13:00
JCC Manhatten

You will also be able to spot it in the World Cinema Documentary section of the
Delhi International Film Festival 2016
and – coming back to its birthplace – at the
Jewish Film Festival Jerusalem 2016.

Last but not least, it will be broadcastet on
SWR television channel germany
30th November 2016 | 23:25
and will be available for watching in the SWR-Mediathek until the 7th of December.

When we talk about colors, we have a rough idea of how a certain color is supposed to look like. In our daily lifes, a more precise definition of colors is often not necessary. However, many forms of artistic creation rely on color. To convey or stress a mood/feel or a specific emotion, to create a sense of security and warmth, a sense of hope or happiness, loneliness and sadness or danger and suspense or to give something an unique style. Although in films the final image is always a combination of the work and effort of all people involved in the creative process, the last step in the postproduction process, the color grading (or color correction) defines what the spectators will eventually see on the big screen, their TV or computer.

Most films are shot in digital formats nowadays which require color grading even more than in the analog days. As a cinematographer I consider this final step – which defines the final look of every shot – part of my job and responsibility. I have been working as a digital colorist on my own and other people’s projects for about six years now. One year ago I founded the shared office space Der Salon Coworking with two friends and we implemented a color grading suite in a separate room to be able to offer color grading services on a professional level.




We are happy to announce that ‘To Be With You’ was not only shown at the
Hofer Filmtage International 2016 among the new films of legends like Werner Herzog and Wim Wenders but was also labeled „especially worthwhile“ (Prädikat Besonders Wertvoll) by the German Film Rating Comission.



‘Holy Zoo’ is going to San Francisco!



It will premiere this month at the San Francisco Jewish Film Festival

screening dates:

27 July 2016 | 12:50
Cinearts at Palo Alto Square

28 July 2016 | 16:10
Castro Theatre

29 July 2016 | 16:05
Roda Theatre

I’m very happy to anounce my next project together with my friend and director Seng Mai Kinraw, which I will be shooting in Myanmar this summer.

„Rain – Stories from Myanmar“ will be an inimate and very personal portrait of Myanmar by Seng Mai. I will be told from the inner perspective of the director, whose individual and original view shapes the narrative style. The reccuring leitmotif of the movie is the rain, which creates of visual frame for every chapter and creates an associative link between the stories.

Within the program „young doc“ we’re very happy about the commitment of SWR and the regional film fund MFG Baden-Württemberg for „RAIN – Stories from Myanmar“ director Seng Mai Kinraw. For more details check out the homepage of the production company avindependents


‘Holy Zoo’, in cooperation with the german television channel SWR, is (or will be) a feature documentary about the biblical zoo of the holy city and its workers. Since this is a documentary, the concept changed throughout the shooting (and will be changing throughout the editing). But I hope, we can manage to show the many faces of Jerusalem, somehow reflected in the diversity of nature and the different lifes of the workers. When Katharina asked me for this film, I was first of all thrilled to have the chance to learn more about the conflict in the Near East and Jerusalem. I was actually also very happy to spend so much time observing and getting to know all the animals of the zoo. Animals are truly amazing and wonderful:) The film is directed by Katharina Waisburd and produced by Denise Neustadt. Sound is being recorded by Adriana Espinal, Simon Peter and Maor Waisburd, the music will be written by Jasmin Reuter and the editing will be done by Ina Tangermann. The projet is now entering the final editing phase and I’m looking forward to see the fruits of Katharinas and Inas hard work very soon!

„Allende’s Grandchildren“ will be shown at the ONE WORLD International Human Rights Documentary Film Festival 2015 in Prague (info) while „Light and Shade“ has earned a place in the program of the International Human Rights Documentary Film Festival Docudays UA 2015 in Kiev.

screening dates for „Allendes Grandchildren“ are the 4th and 7th of march!



„photography is photography, reality is reality“
Thakashi Homma


I stumbled across this quote a few weeks ago. It reminded me of a common topic of confusion and discussion regarding documentaries. Documentaries are (or are supposed/expected to be) „authentic“, they show „reality“. But what does that even mean? Can the images shown in a film be a representation of reality? What happens with reality in the process of recording it? What is the result of decisions made by director and cinematographer? What is reality altogether?

The concept of reality itself is complicated. We know that not one of us experiences the same „reality“ as the other. There isn’t one reality we all can refer to. Two different people asked about their experience of a particular situation will tell different stories. The same goes for documentary film and photography. It cannot show reality „as it is“ or be „purely observational“. Apart from the influence the filmteam or the photographer has on its environment (we are not invisible after all), of all what we call reality, only a little piece can be carved out, an interpretation can be made. And what part of it, depends on choices, just as in fictional films. Those are made beforehand, when the shooting is planed and in the unfolding moment itself, often by the cinematographer because there is no time to talk decisions through.

That’s why a visual concept and a very good communication between cinematograper and director are very very helpful:). Perspective, distance, angle, focal length, exposure, framing, focal plane, direction of light, depth of field, breakdown of the scene, movement, timing..all those decisions have to be made and sometimes in the blink of an eye if a scene developes spontaneously.

The interpretation of reality often even includes staged actions as part of the „version“ of reality a director chooses to show.

What Thakashi Homma is trying to say is that we shouldn’t believe that an artistic interpretation of reality, a photography or a documentary film can show us everything. It’s always subjective, regardless of the effords to achieve the feeling of authenticity or truthfulness. An interpretation is an interpretation. And reality, only in its metaphysical definition, independent of any kind of perception (if that even exists:) is reality.


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