Simon Lund

[…] dealing with high-contrast range of materials and high-density ranges, and also dealing with films that fall out of the colour gamut of normal RGB reproduction. I don’t know… that’s kind of a snapshot of what I do.PF: That’s brilliant, thank you. So, if we’re looking at that transitional period par[…]

Paul Collard

[…]ho since then has done many different colour processes. And John Hemmings was our feature film contact man who would go off to the set and in the pre-production discussions about the rushes and the look and everything else. He came back to the lab one day and said to me “They’ve said to me there’s t[…]

Kieron Webb

[…]el supposed to be like? No harm in saying we played it safe I guess, you know. We went for what we felt would be reasonable for that period of film reproduction. One other thing I was gonna note was the optical effects. There’s a few mixes, dissolves in the film and they… they’re not as good quality[…]
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