INDUSTRY BRIEFINGS
Boutique post-production facility launches in Glasgow
O fficially launched at the Berlinale, Brick and Mortar is a new post- production facility located at Trinity House, Glasgow. Focusing on offline editorial, 4K HDR colour grading and picture finishing services, the company deploys Baselight colour grading systems and boasts Scotland’s first and only DCI- compliant auditorium. The team – led by senior colourist Tom Cairns (formerly of Molinare, Twickenham Film Studios and Dirty Looks) – have been hard at work, having already completed a raft of high-end commercials as well as their first five feature films, including Leonora in the Morning Light and Spilt Milk. Facilities include state-of-the-art offline suites as
well as two advanced Baselight grading theatres, high-end remote review facilities and advanced media storage and management solutions. “We’re excited and honoured to introduce Brick and Mortar to the market in what is shaping up to be a propulsive year for feature film production in Scotland,” commented co-founder and editor Jack Lang. “We’re starting out with a truly great team driving some exciting new suites and technology. With the only projector-based grading theatre in the country, we’re looking to attract top filmmakers to cut, grade and mix their films in Scotland with ourselves and the sound expertise available through Savalas’ audio department.”
“Celluloid is alive and kicking” W hen Oppenheimer DOP Hoyte Van Hoytema ASC FSF NSC (pictured) took to the podium to collect his BAFTA for best cinematography, he used the opportunity to profess his love of celluloid, urging that the format is most definitely ‘alive and kicking’. “Four out of five nominated films were shot on celluloid, and it proves that film is resilient and wanted more by audiences than ever,” he continued. Oppenheimer is the latest collaboration between Van Hoytema and (famous analogue lover) Christopher Nolan, following Interstellar (2014), Dunkirk (2017) and Tenet (2020). The film was shot in IMAX (15-perf) format using KODAK 65mm large format film, and included, for the first time, sections shot in 65mm b&w using IMAX, adding a unique visual dimension.
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