No, our technology eliminates all stages involving expensive negative intermediates. No picture, sound or subtitle negatives are necessary and there is no need for colour matching. We print directly from a data source, straight onto positive film. Just supply us with your DCP, DPX, Pro-Res, or MPEG4. You can upload the content to our secure SFTP server or have it delivered to our premises. Please email firstname.lastname@example.org for access details.
We print on standard positive colour film stock, used by our major studio clients.
We can usually dispatch your prints up to 14 days after data has been received and checked successfully by our team, and payment received. Contact us if you require a faster turn-around.
To enable us to strike a print with a Dolby Digital 5.1 track we need a Dolby printmaster. This is a file set in a proprietary Dolby format that is provided on a MOD disk or CF card, or delivered electronically. This file set is usually mastered in a Dolby certified studio and requires a Dolby consultant to be present during the re-recording session. A special device, which is called DMU (Dolby Mastering Unit), is used during this process.
Otherwise, if you can only provide 5.1 or 2.0 WAVs, we will print an analogue optical cyan track (Dolby SR). With this option, please note the following:
We can re-scan prints back to digital to achieve the authentic 'film' look for your digital content. This is perfect for the situations where your film print cannot be projected, e.g. during the festival circuit.
For now we can print black & white images on colour film stock. A great example of this would be our 35mm print of Mark Jenkin's BAFTA award-winning film 'BAIT'.
UPDATE FOR 2021: Our engineers are currently building a black & white film processor, which will allow us to print black & white images on true black & white film stock. Stay tuned for updates.