Page 26 - Fujifilm Exposure_20 Bend It Like Beckham_ok

The secret of
Lip Sync Post’s
GETTING IN
success lies
in combining
cutting-edge
technology and techniques
with a talented and enthusiastic staff
S oho has been long regarded as
the main hub of Britain’s film and television indus- try. So it was fit- ting that Lip
Sync Ltd, one of the UK’s leading creative and media related agencies, estab- lished its post production arm Lip Sync Post Ltd in the district. The state-of- the-art facility resides at 123 Wardour Street in the very heart of Soho.
Renowned for high
quality and innovative
post production work, the
secret of Lip Sync Post’s
success lies in combining cutting-edge technology
and techniques with talented and enthusiastic staff.
Established in 1986 to service the post-production needs of the music industry, Lip Sync quickly expanded into film and television.
Today, with a client base made up of all the major Hollywood studios, includ- ing 20th Century Fox, Dreamworks, Warner Bros, Columbia TriStar, Universal and Paramount Pictures alongside a raft of independent film makers, the company proudly claims to have worked on seven of the top ten highest grossing films of all time.
As one of the UK’s largest indepen- dent post-production houses, all clients, large or small can be confident that they will receive the same level of expert attention.
With such an impressive client list, Lip Sync Post outgrew its Dean Street
offices and started 2001 in additional premises in Screen House at 123 Wardour Street.
Containing post production facili- ties, including linear and non-linear editing suites, two film mixing the- atres, two broadcast sound suites, an extensive 2D and 3D graphics depart- ment offering anything from film res to TV, Lip Sync Post offers total post pro- duction solutions under one roof.
In other words: a one-stop shop in a luxuriously appointed atmosphere.
The Film Department was launched in May 2001 by Kevin Phelan, who has a 20 year history in the film industry having worked at The Moving Picture Company and Computer Film Company in various roles.
The main aim of that department was to provide film recording service and video-to-film transfers for trailers,
titles and logo work as well as offering outputting for whole projects.
Two high-speed CRT film recorders were installed along with two high- powered workstations, a substantial amount of data storage and some cus- tom software jointly developed by RPS Data Products.
Initial recordings were made on Fujifilm Super F-64D with great results, and as the department got busier it was decided that an even faster device was needed: The Arri Laser recorder arrived in October after trials with var- ious other devices.
Four different intermediate stocks were immediately tested with the Arri and despatched to various labs around the UK for calibration.
Says Phelan: “As our clients’ deliv- ery requirements vary from project to project we decided to offer just about
GETTING IN
EXPOSURE • 24 & 25