Page 10 - Fujifilm Exposure_17 Africa_ok

new technology
Technicolor Imaging Opens Its Doors
There is little sense of history as you enter Technicolor Imaging’s new facilities. Quite the opposite in fact: a mod- ern minimalist maple wood reception fronts the company’s state-of-the-art post production operation. Yet on this very spot, back in 1936, Technicolor threw open the doors to its new London film laboratory. Sixty-five years later, that huge film processing plant continues to operate on-site just a few steps away – dovetailing perfectly with the post production services now provided at Heathrow by Technicolor Imaging.
Feature Mastering, Drama
Finishing, Sound Laybacks, DVD Video and Audio Premastering are now all available under the same secure roof – that of Europe’s largest and most com- prehensive film processing laboratory.
Apart from security issues, which are especially important, the combination of services within the same location avoids the delays and disputes which can occur when projects are spread across more than one site.
MILLENNIUM EQUIPPED
Moving through the Imaging site, you’ll see no
less than five telecine suites – including two ITK Millennium Telecines along with URSA and high grade Rank Cintel Suites.
As Keith Williams, Managing Director of Technicolor Imaging, explains: “The new facility has been designed to service feature, television, com- mercials and 16mm drama/documentary. To that end, we’re confident that our Telecine and Sound services – we have seven sound suites – are today the most modern in Europe.”
As you would anticipate, mastering and overnight rushes in all tape formats are available and, ‘coming soon’, there are plans to offer DVD rushes – thanks to the installation of large scale DVD compression and authoring facilities by
Technicolor Optical – a further facet of a Technicolor organisation rich in imaging expertise.
So, with this new combination of advanced film and imaging facilities, what benefits are likely to derive for Technicolor’s customers?
Notably, there will be immediate benefits in the levels of service package available. More choice, more flexibility and greater economies as well as inherent improvements to overall quality.
Feature film makers can enjoy a service which starts with a prompt pick-up of your materials and then covers neg developing, rush print and/or trans-
fer to tape, sound sync, copy to VHS, then rapid delivery.
Commercials customers have, similarly, always sought high quali- ty output, fast turn around, a single point of knowledgeable contact and rapid delivery in and around Soho and the West End.
By combining film and imaging services under one secure and con-
venient roof, Technicolor have been able to stream- line procedures, as well as adding a second negative developing line and increasing collection and deliv- ery frequencies.
The result for commercials production is a real alternative in the rushes service sector; delivering quality, security and speed to compare with the best and tangible value for money.
For 16mm Drama and Documentaries, Chris Gaçon, Technicolor Film’s Controller of Sales and Marketing, observes that, “Technicolor Film now have what is probably the best 16mm nega- tive developing machine in the UK in terms of speed and quality.
“But this isn’t all that makes Technicolor attrac- tive to 16mm customers. Imaging has a dedicated 16mm team and with developing, telecine transfer, syncing, independent on-site negative cutting – plus final grade, transfer and edit – we have everything required to ensure that the negative never leaves our site. We have perhaps the best 16mm package currently available.”
The Technicolor brand continues to be synony- mous with the highest quality in presentation; the new imaging group has been introduced to comple- ment and strengthen that brand in line with techno- logical developments. ■
EXPOSURE • 8