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Found 2 results

  1. Hello, Fotoquímica Films SpA, cinema production company in Santiago de Chile, is currently available for integral production services shooting on real film. Please see below some the type of stock, cameras that we do have currently available and a quick description of some of services in the field of motion picture production and digital intermediate post-production. STOCK 35mm 400 ft cans: 50D color negative (5203) Super8 50 ft cartridges: 250D / 200T black and white negative XX (total 1000 ft) medium format (120 film format): 50D color neg (5203), 250D color neg (5207) 200T color neg (5213) We do import raw stock and custom load raw stock in several motion pictures and photographic formats. Fujifilm (older/expired stock) also available. We do export the exposed & unprocessed film to submit it to industrial motion picture Laboratories in for ECN-2 processing and scanning. Super-8 black and white negative can be developed in Chile (manual processing) into D-96, ID-11 or Ilfotec DD-X Manual ECN-2 processing for medium format photography being implemented. MAIN CAMERAS Arriflex 435 Xtreme with three 400 ft magazines Pro8 Classic (Max8) with PL mount Contax 645 AF (with Carl Zeiss glass) and Rollei 6008i medium format photographic cameras Other motion pcture cameras, as well as Grip and Lighting ressources, are available through third-parties companies under our production service supervision. POST-PROD Full digital intermediate uncompressed workflow supported, with talented pool of freelancers, and third parties companies in Chile and abroad. Experience in supervising inter-continental digital intermediate workflows envolving processing, scanning, editing, VFX, color grading and film-out. Nikon Coolscan 9000ED scanner for medium format and 35mm scanning (4000 dpi). For more information please contact us at fotoquimicafilms@gmail.com / mobile +56 975543323 English, French, Spanish spoken
  2. FotoKem and SPY (a FotoKem company) combined in-house talent and key post-production services for the Sundance winning film Fruitvale, written and directed by Ryan Coogler with cinematography by Rachel Morrison. The film won the festival’s coveted Grand Jury Prize and Audience Award for a drama, and was acquired by The Weinstein Company soon after its premiere screening. Providing end-to-end services for the Super 16 mm project, FotoKem and SPY worked closely with the filmmakers from start to finish. Fruitvale was processed and transferred at FotoKem in Burbank. The files were delivered to SPY’s headquarters in San Francisco, where colorist Chris Martin color graded the film with Coogler and Morrison. The two facilities are securely connected by a high-speed network offering real-time interface capabilities between the locations to provide the creative community with easy access to the full breadth of post-production services that FotoKem and its companies offer. Fruitvale follows the final day of 22-year old Oscar Grant, who was gunned down by a police officer at the Fruitvale stop of an Oakland transit line. The tragedy was caught on video, and the incident made national headlines. The movie was shot on location in San Francisco. The Super 16 footage was then shipped to Burbank, scanned to HDCAM SR, and conformed at SPY. “When I met with Ryan and Rachel prior to production, they were committed to shooting film. They felt strongly that film would convey the emotion they wanted to draw from Oscar's character,” recalls Martin. “Our color grade supported the quality of grain and tonal palette that the Super 16 format brought to the story. Specifically, we approached the process as if we were timing in a film laboratory, avoiding the feeling of a digital grade. Building in contrast and adding weight to the mid-tones, rather than overcooking the shadows and highlights, brought a very specific emotional element to the film. The result is a feeling of intimacy that holds the personality of the film and supports Rachel’s amazing camera work. Obviously the audience at Sundance agreed!” Martin notes that Fruitvale can be divided into two worlds - the quiet intimate world of Oscar and his family, and the larger institutional world where Oscar encounters conflict. “Oscar's world tends to be defined by warmer scenes with more intimate contrast while the institutional scenes are seen with a wider lens and more mixed lighting, embracing an observational feel,” says Martin. “So while we maintained the same approach for all the scenes, there's a wonderful dichotomy between the two worlds.” “We are honored to have collaborated with the talented team behind Fruitvale. At FotoKem, we continually strive to offer independent filmmakers the workflow expertise that they need, and invest in the talent and technology to support their creative visions,” says FotoKem’s Mike Brodersen.
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