FOCUSING ON MYTHS ABOUT FILMLOOK®

Production companies often have questions about FILMLOOK, and we are glad to offer advice. However, there are some popular myths and misconceptions about FILMLOOK that we have outlined.
MYTH #l-It doesn't matter what format you use for FILMLOOK, since video is video.
THE TRUTH-Only broadcast video is acceptable for FILMLOOK. Hi8, SVHS, and other consumer formats will not give you the same performance and resolution as Betacam SP originated material. Even 3/4" can be a compromise, since there will be chroma noise and loss in detail when going down from one generation of 3/4". In order to achieve a look that is competitive with 16 or 35mm film, FILMLOOK needs to start with broadcast quality video (Beta, Beta SP, 1", D2, etc.).

MYTH #2-FILMLOOK can be bumped up to film, and it will look just like a 35mm print.
THE TRUTH--Unfortunately, you cannot take a FILMLOOK transfer and expect to create an acceptable film print. A FILMLOOK transfer already has the gamma curve, grain, and motion characteristics of a film to tape transfer; and striking a print from it would be like taking a film to tape transfer back to film. It will look grainy with excessive contrast levels, it will have a muddy color, and it will have strange motion characteristics that are undesirable. Video, in general, does not lend itself well to film bump-ups anyway, since the resolution and dynamic range is limited by the NTSC signal. Film ultimately has more resolution and color than even high definition video. If you need to end up with a film print for theatrical distribution, then you should start out in film. If your production ends up exclusively on video for either broadcast or for videocassette distribution, then use video and FILMLOOK.

MYTH #3-FILMLOOK doesn't need any special lighting or other gimmicks for it to work.
THE TRUTH-This is slightly untrue. FILMLOOK does not require any special camera settings or lighting techniques. However, to unlock the full potential of the process, it is vital to put the same care and attention as if you were shooting film. This means proper and creative lighting techniques, lens filtration and/or diffusion, and watching for under and overexposures, overly contrasty scenes, etc. Also, the camera shouldn't have too much detail enhancement in the image, and the high-speed shutter must never be used. Think in terms of a film D.P., only using a video camera instead of a film camera.

MYTH #4-FILMLOOK is a cheap way to make crummy video look like expensive 35 or 16mm film.
THE TRUTH-Just as bad writing or bad acting can be deadly to a production, amateurish camera work and lighting can be worse. Poorly shot, badly exposed video on a less than broadcast format in FILMLOOK will never look as good as a telecined 35mm film print. As much as we would like to, we cannot overcome these problems, and we end up looking less than professional in the delivery of your video. It is crucial not to cut corners on lighting, exposing and recording the video. Treat video to be processed in FILMLOOK as carefully as you would if you started out in film. This goes for everything from stock shots to even a "movie of the week." Saving money seems to be the Holy Grail of any producer working in film or video today, and we at FILMLOOK are consistently demonstrating the potential of video processed in FILMLOOK as a cost effective alternative to non-theatrical film projects.

FILMLOOK JOINS THE REVOLUTION

HOLLYWOOD - Real TV, the producers of the ambitious documentary "Revolutionary War" chose FILMLOOK to process the entire six part miniseries for The Learning Channel. The documentary covers the colonial American revolt against England through location battle reenactments and interviews with noted historians. The entire six hour project was processed exclusively in FILMLOOK under the supervision of executive producer, Carol Fleisher, of Real TV. "Revolutionary War" is narrated by Charles Kuralt and will air in November on The Learning Channel.

FILMLOOK IN PRIME TIME

FILMLOOK congratulates Witt-Thomas' "The John Larroquette Show" for returning to NBC for its third season, and also NBC Productions' "In The House," returning with a full season of shows this fall. In Canada, we congratulate "The Red Green Show," for returning to FILMLOOK and is now surpassing its 100th episode. We also welcome aboard new series "Minor Adjustments" (NBC/Witt-Thomas), "The Crew" (FOX), "WMAC Masters" (Syndicated), "U.S. Customs" (Syndicated) and "Crossroads Cafe" (PBS). We are pleased that these shows have selected our patented film simulation process, and we wish them success in the fall season. Please check your local listings for air times in your area.

SEVEN AND FILMLOOK

BURBANK - The Berkeley Group has used FILMLOOK to process selected behind the scenes footage of the macabre thriller "Seven," starring Brad Pitt and Morgan Freeman.
The video was shot on location then processed for two different looks (35 and 16mm style) under direct supervision by Berkeley. The processed footage, including interview segments and B-roll, was then incorporated in press kits promoting the murder mystery.

FILMLOOK AND DIRECT AMERICA

LOS ANGELES - Direct America's "Lifequest Power Trainer" was nominated by NIMA as infomercial of the year. Producer/director, Ron Maestri, was thrilled to hear his project was considered as "the best looking infomercial shot on film."

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DIRECTORY

REAL WORLD OF FILMLOOK

LONDON - The popular and controversial reality based MTV series "The Real World" continues a new season with a "cinema-verite'" episode shot in video then processed in FILMLOOK.
This time the series is based in London and features international roommates. The episode was shot in video then letterboxed and processed in FILMLOOK in order to achieve a more documentary style feeling for the episode, which offers day and evening location shooting and "video diary" segments recorded in black and white. "The Real World" processed episode airs the second week in October on the MTV network.

FILMLOOK CUSTOMS

HOLLYWOOD - Grab Productions is producing the syndicated program "U.S. Customs: Classified." The program is hosted by legendary writer/producer Steven J. Cannell and is a reality-based docu-program based on actual cases of the Customs Department. The recreated segments as well as the host wrap-arounds are given the exclusive film simulation process. "U.S. Customs: Classified" is now airing nationally on a weekly basis.

FILMLOOK AND UCLA

LOS ANGELES - RLA Group, producer/director, David C. Bojorquez, and executive producer, Ken Silverman, used the FILMLOOK process on the "We Are UCLA" campaign. The commercial opens every UCLA football game on ABC.

FILMLOOK GETS MAN MADE

LOS ANGELES - Paul Greenburg (producer/director), of Man Made Productions, informed us that his client was upset because he thought Paul shot on film and went over budget. His client was relieved to find out that he shot on video and then went through a film simulation process, called FILMLOOK. It is a great feeling when our clients get excellent responses from their clients.

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