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FotoKem juggled a multitude of jobs and formats for PT Anderson’s new film shot on 35mm VistaVision, One Battle After Another: developing negative, scanning dailies, dailies color, deliverables, dailies film prints, and print screenings.
Director Michael Chaves, Editor Elliot Greenberg, and FotoKem Senior Colorist Phil Beckner gave us the scoop on their experience using SHIFT on The Conjuring – Last Rites.
FotoKem is proud to announce that we recently wrapped up restoration work on one of the most beloved films of all time. The Sound of Music restoration is a celebration of the 60th anniversary of … read more
An interview with the colorists of two very different feature films, each of which used FotoKem’s signature SHIFT analog intermediate process to give their film its unique analog film vibe.
We recently sat down with three recording mixers / audio engineers from the popular and historic ADR recording studio LA Studios and asked them to help our visitors understand what the job of a recording … read more
Amazon Video and Kilter Films’ new post-apocalyptic series Fallout features a dynamic cast of wild characters, far-flung future locations, and a tongue-in-cheek spirit that carries over from the videogame it’s based on. We recently coaxed the show’s colorist Kostas Theodosiou out his “vault” and asked him a few questions about how he helped give this madcap original series its unique color and look.
Bringing Christopher Nolan’s Oppenheimer to the screen in black and white 65mm mixed with color 65mm was no easy task. Here’s how FotoKem rose to the creative challenge put forth by Nolan and the film’s cinematographer Hoyte Van Hoytema.
SHIFT is FotoKem’s new analog intermediate process that imbues digitally acquired footage with the look and feel of real analog film. In this article, we dive into how it was used on Dune, The Batman, and They Cloned Tyrone, with interviews with the colorists of those films, Dave Cole and Mike Sowa.
