As part of our on going efforts to give clients an enjoyable, user friendly and efficient purchase experience, we are so excited to introduce our new On - Line Work Order / Digital Mastering Form. We have made some changes to the form and our policies from older versions so please read it carefully. The policy changes that we have made are so that we can serve you with optimum efficiency and quality.
Recently I saw a post on Instagram from someone saying that the biggest problem this person experienced with their super 8 film project was that it took "forever" to get the processed and scanned film back from the lab. The post got me thinking about how many filmmakers who want to use celluloid think that labs take "forever" to get the film processed and scanned.
One of the biggest improvements 2018 brought to our data log scanning suite is offering our clients the ability to scan archival, home movie and production footage shot at 18 fps at their native frame rate. Over the years billions of hours of home movies shot on film were transferred to video, often with marginal quality. Now there are new methods of scanning these archive treasures that support a much higher quality for a modern viewing experience.
Color correction of film has long been a standard component of th film production workflow. Over the past 5 years there has been a transition going on in Hollywood from traditional telecine (color correction during the scanning in a color suite) to log scanning (scanning to maximize the image detail with raw log data files and then post color correcting the files.)