These days, there’s a wide choice in cameras for every production. Which is great, but can also lead to chaos, with different materials and codes. Every project is tailor-made; there’s no such thing as a standard workflow. That’s why at Filmmore we don’t automate this important step in the process. Our assistant editors do it by hand. This way, your material will enter the postproduction process in the right format, and with correct administration.
Whether you film on an Arri Alexa, GoPro, RED, Sony F65 or a Canon DSLR, we know exactly how to process the material. Our colorists take the time, together with the DOP, to tailor make LUTs for various situations (INT, EXT, DAY, NIGHT). You can send us material every day of the week, even at night, and convert it to the specification the editors needs. No matter what platform he works on.
And while we’re at it, we also make the preparations for posting the dailies on our FILMMORE Dailies App. So you can show the material as quickly as possible to anyone who has to review it.
How do you make sure your dailies reach whoever needs to see them? Preferably quickly, in the highest quality possible and visible on several devices? The FILMMORE Dailies App streams your selected footage as high-definition media to your iPad or in your browser. It makes reviewing dailies simple, convenient and faster than ever. You can zoom in during playback, frame step, make graphical annotations directly on the material and create comments. And easily update external staff by picture based emails, exported PDF reports or ALE (Avid Log Exchange) files.
FILMMORE Dailies App features:
- Editing style timeline
- Switch full frame image to cropped aspect ratio
- CDL based grading
- Clip sorting
- Smart Reels
- Keyword tagging
- Extensive metadata support
- Text & Paint based annotations
- Sync annotations with your colleagues
- Full screen playback control (play, pause, skip, ff, rw, speed change, annotations)
- iPad Retina display support
No film producer will disagree when we state that deliverables are hell. Filmmore tries to bring this nightmare to manageable proportions. How? By making a deliverable list, together with the producer, in as early a stage as possible. The list must contain all relevant technical specifications, as well as information about (international) versions and deadlines. This results in a shorter list, which means fewer costs, more insight and an efficiently organized deliverable route.
We always work in the highest possible resolution: that of the source. Whatever the specifications of the required master(s) are. And as we archive our DSM (Digital Source Master) in this same source resolution, it’s possible to create delivery items later on for future sales and delivery formats.
QC (Quality Control)
All deliverables we make get a full visual QC before they leave the building. That means one of our QC operators reviews the entire film, directly from the required source. Is an official QC report required by contract? No problem. We have a carefully selected network of third parties to handle it.
In our fully equipped DCP Creator suite, with 5.1 audio and a state-of-the-art OLED monitor, we can master 2k en 4k DCP’s. The thorough internal QC is done in our 4K Cinema. For us, mastering different subtitles, spoken languages, different ident-reels and/or audio description is a piece of cake. Naturally we always put the final approved DCP’s on LTO-tape. That way in the future we can still deliver you the DCP or add subtitles in a new language.
In addition, we can handle KDM-management on a smaller scale for you. We usually deliver a KDM for your festival- or sales-screening within 24 hours. For your theatrical release we deliver DKDMs to your trusted labs and those of your distributors worldwide.
Our DCP’s meet the highest standards, which guarantees that your DCP will run in every part of the world.
At Filmmore Amsterdam, Grading 2 is also known as the Screening Room. Grading and Screening in one room has advantages. When viewing a DCP, the picture will exactly look like the grade clients have been working on. We pride ourselves in the fact that our picture calibration fully complies within SMPTE specifications for screening rooms. Which, by the way, is a factor three more demanding than regular cinemas. We offer 4k DCP projection with an unmatched contrast ratio of 13 camera stops.
The room has optimized acoustics. We use Dolby CP-750 processing, LabGruppen amplification and a full complement of JBL Cinema Speakers in a Dolby Surround 7.1 configuration. This means we don’t have to compromise when it comes to audio.
Our Cinema set-up guarantees excellent translation of the sound to cinemas with unmatched picture quality. We use an acoustically transparent screen, which further enhances sound quality and prevents Moiré problems micro perforation screens may pose.
We apply the same level of calibration for sound as we do for picture. Our screening room is calibrated for Dolby level 7 Reference playback, but can of course easily be adjusted for alternative levels.