Tag Archives: Cinelab London

Cinelab London adds sound mastering supervisor and colorist

Cinelab London, which provides a wide range of film and digital restoration services, has added two new creatives to its staff — sound mastering supervisor Jason Stevens and senior colorist Mike David.

Stevens brings with him over 20 years of experience in sound and film archive restoration. Prior to his new role, he was part of the archive and restoration team at Pinewood Studios. Having worked there his whole career, Stevens’ worked on many big films, including the recent Yesterday, Rocketman and Judy. His clients have included the BFI, Arrow Films, Studio Canal and Fabulous Films.

During his career, Stevens has also been involved in short films, commercials and broadcast documentaries, recently completing a three-year project for Adam Matthew, the award-winning digital publisher of unique primary source collections from archives around the world.

“We have seen Jason’s enviable skills and talents put to their best use over the six years we have worked together,” says Adrian Bull, co-founder and CEO of Cinelab London. “Now we’re thrilled to have him join our growing in-house team. Talents like Jason’s are rare. He brings a wealth of creative and technical knowledge, so we feel lucky to be able to welcome him to our film family.”

Colorist Mike Davis also joins from Pinewood Studios (following its recent closure) where he spent five years grading feature films and episodic TV productions and specializing in archive and restoration. He has graded over 100 restoration titles for clients such as BFI, Studio Canal and Arrow Films on projects such as A Fish Called Wanda, Rita, Sue & Bob Too and Waterworld.

Davis has worked with the world’s leading DPs, handling dailies and grading major feature films including Mission Impossible, Star Wars: Rogue One and Annihilation. He enjoys working on a variety of content including short films, commercials, broadcast documentaries and Independent DI projects. He recently worked on Adewale Akinnuoye-Agbaje’s Farming, which won Best British Film at the Edinburgh Film Festival in June.

Davis started his career at Ascent Media, assisting on film rushes, learning how to grade and operate equipment. By 2010, he segued into production, spending time on set and on location working on stereoscopic 3D projects and operating 3D rigs. Returning to grading film and TV at Company 3, Davis then strengthened his talents working in long format film at Pinewood Studios.

Main Image: (L-R) Stevens and Davis

Kodak, Cinelab London initiative helps preserve indie films

Kodak is launching an archival program in collaboration with Cinelab London focused on independent filmmakers in the UK. The Kodak Archive Package offers flat-rate pricing for film, digital recording and processing, allowing Kodak to work with independent content owners to deliver an archive master on film regardless of the original production format.

Through the Kodak Archive Package, filmmakers can get a single, affordable price for any title shot on digital or analog. The package includes film stock from Kodak along with Arrilaser recording, optical sound recording and lab-processing services from Cinelab London.

As the main point of contact, Kodak will provide a quote and single invoice to independent producers and content owners, saving them from the time-consuming process of pursuing competitive rates in the market. Filmmakers seeking to preserve content simply deliver the data drive (image and sound) of their final cut, and in return, they receive 35mm images and audio as separate elements for preservation.

Kodak plans to expand the Archive Package to other regions soon.