Tag Archives: restoration

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

FotoKem colorist Mark Griffith: digital remastering ‘The Sound of Music’

By Randi Altman

Who doesn’t love The Sound of Music? Who? Introduce them to me and we’ll talk. Fifty years after it was released in theaters, this classic film about — well, you know what it’s about — was restored by Burbank’s Fotokem, home to one of the last feature film labs in the country. The studio completed the restoration of the 65mm musical through 8K scans from large-format film elements, downsampled to 4K for restoration and digital cinema mastering.

For the restoration of The Sound of Music, which was directed by Robert Wise and photographed by Ted D. McCord, ASC, Andrew Oran and his team began by creating the highest Continue reading

Petr Harmy brings restoration expertise to NanoTech’s 4K Studios

Film editor Petr Harmy, who created Star Wars Despecialized Edition, and who has extensive film restoration and remastering work under his belt, has joined the NanoTech’s 4K Studios. For those who aren’t familiar with this offering, Harmy, a Star Wars purist of sorts, created the “despecialized” version of  the original Star Wars by going through and correcting all additions and changes that the later special editions added.

NanoTech Entertainment is a technology company that brings the 4K experience to consumers via it’s UltraFlix streaming service.

Harmy is joining the 4K Studios team as they prepare to launch the new “Remastered by 4K Studios” effort, where films that have been previously released in 4K will be remastered using second-generation tools and techniques that differentiate them from other offerings of the same film.

“I’ve always been a big proponent of presenting movies in the best possible quality while maintaining their original artistic integrity,” explains Harmy. “I am very excited to be joining the 4K Studios as part of the UltraFlix team.”

“As someone who grew up part of the Star Wars-generation, I’m very excited to have Harmy joining the 4K Studios team,” says Alex “LX” Rudis, head of 4K Studios. “His Despecialized Edition Star Wars has a remarkable aesthetic sense and fantastic attention to detail. When I first viewed his work on Star Wars, I was emotionally transported back to the very first time I saw the film. I feel that Harmy’s attention to subtle aspects of color grading and shadow detail will provide similar depths of emotional impact to the 4K restoration and master work that we provide for UltraFlix.”

Rudis says that even though the same films offered on UltraFlix might be available on other streaming services, 4K Studios’ goal is to offer what he calls a “true cinematic experience.”

Starting in February, UltraFlix viewers will start to see the “ReMastered by 4K Studios” Logo appearing on films that are updated through this program.

Digital Vision, makers of Nucoda, acquired by management team

Twenty-six-year-old industry staple Digital Vision, which makes the popular Nucoda color grading suite along with restoration and film scanning solutions, has been acquired by its management team — Kelvin Bolah, Greg Holland and Claes Westerlund.

Nucoda

Nucoda

Digital Vision says the acquisition, from Swedish company Image Systems for 6.1 million in Swedish currency, will provide significant funding for future investment in R&D.

Bolah will become CEO, while Holland takes the role of worldwide VP of sales, and Westerlund becomes worldwide VP of operations. As part of the acquisition, the entire Digital Vision team will remain with the new company, as will all of the company’s offices in London, Los Angeles, Melbourne, New York and Sweden.

“Digital Vision’s staff, customers and partners were of the utmost importance in this acquisition and our main reason for the management buy-out,” says Bolah. “Having worked with them for many years and seeing their passion, expertise and the amazing projects they produce, we knew we had to keep the Digital Vision brand alive. With the investment that the company now has we will be able to accelerate the R&D and engineering to deliver our award-winning products in a timely fashion to a global customer base.”

Digital Vision’s current product range includes the Golden Eye 4 archive scanner; the Bifrost Archive Bridge, a scalable solution suitable for archives of any size; the Nucoda color grading suite;  Phoenix film restoration software; and Thor hardware designed for realtime 4K image processing.

Athena Studios, VES/Bay Area restore the ‘lost’ Black Angel

EMERYVILLE, CA – Athena Studios (http://www.athenastudios.com), which specializes in production and animation services for film and multimedia clients, and the Visual Effects Society (VES)/Bay Area, have partnered to restore a legendary, Star Wars-era short film called “Black Angel.”

3 Black Angel

Thought to be missing for more than 30 years, “Black Angel,” which was last seen in theaters across Europe and Australia in l980 as a lead-in to “The Empire Strikes Back,” was shown recently at the 36th Annual Mill Valley Film Festival.

To view clips of the restored film, please see:
http://www.athenastudios.com/project_blackangel.html

After reading a 2012 Wired Magazine article about how “Black Angel,” believed to be missing, had been located by an archivist at Universal Studios, Athena Studios producer Brice Parker joined with VES/Bay Area chair David Tanaka and contacted the film’s director, Roger Christian, with an offer to supervise the film’s restoration at Athena Studios.

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