we love film
Passionate about film? We are too! At a time when many post companies are fleeing the film market, and everyone and their brother has opened a post house that supports digital cameras, we are renewing our commitment to supporting film at the highest level.
Our passion doesn’t just come from being old-school, as we are from the new, nor does it come from any vendetta against digital camera systems, as we think they’re good tools and support them too. It simply comes from the fact that we spend much of our day looking at full-resolution images acquired on every camera imaginable. We’re regularly involved in camera tests comparing film to all of the latest and greatest digital technologies. And while many digital cameras have been deemed “good enough” (usually by producers), we have yet to be asked if we can make 35mm film look more like digital. Conversely, we are frequently asked to make digital images look like film.
At the risk of nunchuck attack by the RED Ninjas we maintain that a certain magic still happens when photons of light hit celluloid that remains irreplaceable with any other digital format, that this organic quality is difficult to define with ones and zeros, and that the emotional resonance of film still somehow eludes the digital sensor.
Need convincing? Please watch the 8K remastering of Baraka on Blu-Ray. After picking your chin up off the floor, pick up a film camera and make some magic!
While the look of various digital cameras may better suit the language of your project, we implore you not to write off film due to the assumption that it is prohibitively more expensive. In calculating costs, what often goes overlooked is the sheer volume of data generated by high resolution digital cameras, the requirement for triplicate data replication for bonded productions, and the cost of long term archival storage of digital elements. If you’re trying to hit a 4K delivery to meet the new theatrical display resolution 35mm film will cost less than all high resolution digital cameras other than possibly a compressed “4K light” image from RED. Every day, we are leveraging new post technologies so that filmmakers and DP’s don’t have to compromise their vision, and producers can meet their bottom line.