Robert Cibis and Lilian Franck’s careers began in 1998 after their film studies in Paris. They united around storytelling - showing people something new and challenging the commonplace. But it was a hard fight to win people over to innovative projects. The two found that both investors and audiences had to be coaxed away from familiar terrain and that each project had to find an individually tailored solution.The theatrical documentary ‘Pianomania’, for example, centres on piano… Show more Robert Cibis and Lilian Franck’s careers began in 1998 after their film studies in Paris. They united around storytelling - showing people something new and challenging the commonplace. But it was a hard fight to win people over to innovative projects. The two found that both investors and audiences had to be coaxed away from familiar terrain and that each project had to find an individually tailored solution.The theatrical documentary ‘Pianomania’, for example, centres on piano technician Stefan Knüpfer and his search for the perfect sound, accompanied by world-class pianists Lang Lang, Pierre-Laurent Aimard and Alfred Brendel. The film was awarded, among other prizes, the Semaine de la Critique prize at Locarno, the Golden Gate Award at the San Francisco IFF and the German Film Award for Best Sound. It also had a very successful cinema release in 25 countries worldwide.OVALmedia strives to further understanding of today’s world in order to champion for the common good. This belief is self-evident in two of our most recent projects, Free Lunch Society (2017), which addresses the very real possibility of a universal basic income and trustWHO (2018), a searing exposé into the influence of privatization on global healthcare. Free Lunch Society also marks OVALmedia’s first foray into theatrical distribution, as the OVAL team was able to coordinate a crowd-sourced premier event, which saw the film open in 100 German cinemas on its first day of release, with 100 debates after the screenings.Boundaries no longer exist between different kinds of media. As new media bears witness to the ever-developing integration of Science, Business and Art, we recognize how vital it is that OVALmedia is able to adapt to this. We work to pursue ideas that transcend fixed media categories and disciplines. Show less

Since 2002 we are renting out movie and television sound-and-video-equipment, from filmmakers to filmmakers. We work hard to make the best possible films and like to help others who have the same goal. What will be the best choice of equipment for each movie with technology developing so fast?With our production PIANOMANIA we found a way to combine fly-on-the-wall sound recording with elaborate classical music recordings. Symphonic orchestras, as well as characters "running around" was the… Show more Since 2002 we are renting out movie and television sound-and-video-equipment, from filmmakers to filmmakers. We work hard to make the best possible films and like to help others who have the same goal. What will be the best choice of equipment for each movie with technology developing so fast?With our production PIANOMANIA we found a way to combine fly-on-the-wall sound recording with elaborate classical music recordings. Symphonic orchestras, as well as characters "running around" was the source of a new kind of experience in documentary sound recording. This work gave to OVAL and its team the German Oscar for best sound (Deutscher Filmpreis für den besten Ton).In 2015, we had three projects in virtual reality, with different set-ups. Latest news it that Michel Reilhac’s “Viens!” premiered in Sundance in January 2016. We love to explore that new dimension together with top-notch creative technologists.Whether you have a no-, a low or a high budget production, a high resolution camera set-up helps to have a better result. Please try the RED Epic Dragon, with the only setup which can fully expose the 6K Chip with a short focal lens (Leica Summicron-C). We are open to support any great idea would love to discuss the technical challenges of your project! Show less

I was working for "Führer Ex" directed by Winfried Bonengel

I researched for the feature length theatrical documentary "Die Finsternis" directed by Thomas Tielsch.

I worked as 2nd assistant director for Michael Haneke during the production of "Code inconnu".