“I first stumbled upon Motion FX through a comment posted on the Final Touch (now Color) forum of Creative Cow back in July 07. At the time I had no real experience with the DI process, and was researching new workflows which could put DI services affordably within my reach. After some initial conversations with Evangelos at MotionFX, I understood his workflow, and decided to do a test run of the process. Coincidentally, I had picked up a job at nearly the same time which presented a perfect opportunity to try things out on a real project. The process on my end consisted of purchasing and calibrating the proper monitor (in my case a projector) and a spectrophotometer.

To summarize the experience, the results of both the test print and the actual project were very positive. There were road bumps; the overwhelming majority involved workflow issues on my end (i.e. problems with Color) and Evangelos expertise in the entire process came to my rescue on countless occasions. But most importantly, the prints themselves were exactly what I was promised: a "what you see is what you get" print.

The workflow is not a magic button that you push. It will require you to know or learn the process at a far greater level than you initially expected. But what they have done is made it as simple as it can be without compromising quality. From my perspective, I started from scratch, followed his directions, researched a lot, rolled with the punches, and ended up exactly with what I was promised at price point I couldn't pass on. His services are now a staple in my workflow, and I gladly recommend him.”

Blase Theodore, Contact Studios, NYC, USA

http://www.contact-di.com/

“I'm not sure how I found Evangelos but I am sure about how much I've learned from him. After just one conversation with him I was aware that I'd found a mentor, in Greece of all possible places. It really didn't matter that he was half way around the globe, we talked via Skype, his mobile phone or we simply emailed one another. I was never left in the dark, he was always available when I needed him. He guided me through the difficulties of calibrating the monitor and made it seem easy, next I tested his samples and then he used the results to setup my LUT.

I can't explain the feeling I had when the print was projected and the images exactly matched my timing monitor. I often thought it strange that while I'd worked with so many bright intelligent experts here in Los Angeles that I might find such a valuable asset halfway around the planet. I could only surmise that because he was so far from the epicenter of the film industry that he must have found it necessary to develop workflows that would allow him to use available hardware and software to take a digital image to a film delivery.

The man is brilliant and because of his efforts I was able to take my feature, “The gene generation” through DI to a film out exactly how I had colored it without compromise in my own studio just like the big houses saving me tens of thousands of dollars. Thank you Evangelos.”

Keith Collea, Producer, Los Angeles, CA, USA.

http://www.imdb.com/name/nm0007205/

“I am just coming back from the "Hayu Leylot" screening. It looks and sounds very good. We are all happy. I want to emphasize that it is maybe the best transfer job from HD to 35mm that I have seen!  On behalf of Roni and myself, thank you for your kind and warm hospitality, and the inspiring technical lessons. Waiting for further collaboration.”

Ofer Inov, Cinematographer, Tel Aviv, Israel.

http://www.imdb.com/name/nm0002796/

“The post house that did the DCP, was amazed by the quality of the LUT conversion to XYZ colorspace… it was the first time that they have seen such an incredible result!... It was exactly like the film prints… perfect…”

Ivo Noorlander, Producer, Schemer. Corrino Films, Netherlands.

http://www.imdb.com/title/tt1467061/

“I contacted Evangelos Achillopoulos and since I have a supporting mentor that guides me through all the procedures and supports me with all the aspects of the workflow. Evangelos suggested that I will by a certain monitor that costs roughly 800$ and a probe that costs around 1600$ with this tools we established a relation that allowed us (within 5 months) to calibrate my studio to his laboratory services with a great certitude.

Yesterday we finally saw a theatre projection of the 35mm print made from a sequence (taken from the first Israeli feature film "Five hours from Paris" shot on the Redone build 15, 4k 16:9 24 fps) I sent him to print. IT WAS EXACTLY WHAT WE SAW ON MY GRADING MONITOR!!!

After the projection all involved (DP, producer, director, editor and other people of interest) we all went to my studio and watched the sequence again on the monitor. IT WAS EXACTLY WHAT WE SAW ON THE PROJECTION!!!”

Ido Karilla, Opus Digital, Tel Aviv, Israel.

http://www.opus-tv.co.il/