Hiromi Inatsuchi, president of IMAGICA WEST, a subsidiary of IMAGICA Corp.
We know filmmakers today have many creative choices. We also want to let you know that we are working closely with the labs to maintain quality processing and printing for our loyal customers who continue to choose film.
Today we kick off a blog series that will highlight the many positive changes that are occurring on the lab scene today.
Every day, in cities around the world, talented experts at an array of outstanding laboratories help storytellers bring their images to life. In Camera checked in with just a few of these labs to see what's developing and on the horizon.
This year marks FotoKem’s 50th anniversary as a full-service post-production facility serving the creative community. With one of the most well-known labs in the world, the Burbank-based company offers a broad spectrum of services, including a palette of new digital workflows for 65mm, 35mm and 16mm film acquisition. Mike Brodersen, FotoKem’s VP of strategy, notes, “In recent months, both 65mm and 35mm 2-perf have seen a boost in popularity – filmmakers shooting 65mm as the gold standard in image quality and 2-perf 35mm as a cost-effective acquisition choice for ‘scope’ aspect ratios. Offering new digital tools in conjunction with film acquisition gives productions a wide array of finishing options for a variety of budget levels, with the added benefit of a built-in archive format for future proofing.” (www.fotokem.com)
As technology continues its ongoing trajectory, and the industry discovers new ways to create and distribute entertainment content, the infrastructure supporting the imaging chain is evolving. Film technology still sets the standard, but the landscape has changed, and we are adapting.
Our efforts to streamline operations, pursue vertical markets for our technology, and maintain quality resources have been highly successful. Kodak recently filed its plan of reorganization with the US Bankruptcy Court, and I can assure you that Entertainment Imaging (the motion picture film business unit of Kodak) is part of the company’s current business emergence plan.
Scenes from Gate of Hell before and after restoration (Photo ©1953 Kadokawa Pictures)
Gate of Hell is the first Japanese feature film shot on EASTMAN Color Negative Film 5248 / Tungsten EI25. Directed by Teinosuke Kinugasa in 1953, this movie was awarded the Grand Prize in Cannes in 1954 and also won two Academy Awards®.
The restoration was a joint project of Kadokawa Pictures and the National Film Center (NFC) of the National Museum of Modern Art, Tokyo, who conducted research and led the project as film archivists. The intention was to faithfully restore the original 1953 look of EASTMAN Color Film.
SQ Film Laboratories Inc, Philippines Crew
Philippines-based SQ Film Laboratories, Inc. has become the newest member of the KODAK IMAGECARE Program. Kodak began this quality program for film laboratories in 1996 and it is now active in 31 countries worldwide. SQ Laboratories, Inc. was recently accredited by the Program for Camera Negative Processing.
With over 40 years of industry experience, SQ Laboratories, Inc. continues to demonstrate its commitment to film and film quality. The lab employs 30 full-time individuals, including a number of highly-skilled technicians and artists who have many decades of expertise.