TECH CINELAB
Cinelab’s Thom Trigger talks us through the process WORDS OLIVER WEBB A t Cinelab, a project begins intent, the capture format, the scale of the production and how film sits within the wider workflow,” begins Thom Trigger. From early tests through to principal with a conversation rather than a checklist. “We focus on understanding the creative photography, Cinelab’s teams work with cinematographers, production and post to design a workflow that fits the project, whether that’s purely film, digital or a hybrid of the two. “Film processing, scanning, colour and dailies are treated as a single, integrated pipeline rather than separate services.” Once shooting begins, Cinelab’s emphasis is on speed, clarity and consistency. “Rushes are processed, scanned and usually delivered overnight, with editorial and production receiving material that’s immediately usable,” says Trigger. “From there, we continue to support the project through onward post-production, ensuring the original intent carries through to final delivery. This can run all the way up to the creation of 35mm prints for either archive or cinema exhibition.” When it comes to the differences between independent productions versus large studio projects, Trigger explains that the basics are the same: “Trust, reliability and image integrity, although the pressures can differ.” Independent productions often work within tighter financial and scheduling constraints, so clarity and efficiency become even more important. “Our role is often as much advisory as technical: helping filmmakers make smart choices about format, workflow and turnaround
BIG PICTURE Cinelab treats film processing, scanning, colour and dailies as one integrated pipeline rather than separate services
that maximise creative impact without unnecessary complexity.” Studio projects, on the other hand, tend to involve larger teams, multiple stakeholders and complex pipelines, particularly where international post- production is involved. “In those cases, our focus is on robustness, scalability and communication,” adds Trigger, “ensuring that film and digital elements integrate smoothly into much bigger post ecosystems. In both cases, though, the goal is the same: to make film feel like a confident and supported choice inspired by aesthetic creativity rather than technical considerations.” Turnaround is shaped by three main factors: workflow design, communication and preparation. “Projects that have a clearly defined pipeline, with agreed colour approach, scanning resolution and delivery specs, tend to move very quickly,” says Trigger. “Our processing, scanning, colour and dailies teams work side by side, so we can avoid bottlenecks that slow film workflows elsewhere.” Volume and format also play a role, as does how material needs to be delivered downstream to editorial, VFX or remote teams. “Our job is to anticipate those needs early so that speed doesn’t come at the expense of quality.” Addressing how tight deadlines or last-minute changes are typically handled, Trigger acknowledges that this is where experience and infrastructure
really matter. “With Cinelab’s modern and efficient ‘scan once’ workflows and good communication with production teams, we can adapt quickly when schedules shift or requirements change. Whether it’s a revised delivery spec or extra material needing to be prioritised, our teams are structured to respond without disrupting the wider pipeline.” Equally important is transparency. “We’re very open with clients about what is possible, what’s realistic and how best to solve a problem under pressure,” he says. “That trust is often what allows productions to stay on track.” It is vital that Cinelab’s workflows evolve to keep up with the industry. “We’re seeing more hybrid productions, complex post pipelines and greater expectations around speed, remote access and collaboration - all while filmmakers still want the tactile, truthful qualities that film provides,” says Trigger. “Our response has been to modernise every stage around the photochemical core: advanced scanning, integrated colour and dailies and introducing hybrid digital-film-digital processes.” At the same time, Cinelab is investing heavily in workflow design, automation and communication tools so that film can operate at the pace of modern production. “The aim isn’t to make film behave like digital, but to support it properly within today’s filmmaking landscape,” he concludes.
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