Filmout or Film recording is the photo – electro – mechanical process that exposes (transfers), frame by frame, digital image files in a negative film stock for further process in the photochemical labs, in order to produce the big film rolls that used in the Film Cinema theatres. DCP is the acronym of Digital Cinema Package which is the digital counterpart of Film. We offer cost effective workflows, which seamlessly enrich with the unique character of Film the various digital deliverables that needed for the plethora of the distribution chains which are available in our digital era.

Motion FX since 2005 has offered the film recording service. We transfer to negative film, digital acquired images with our film recorders, in HD/2K/4K with Lasergraphics Producer and in HD/2K with ARRI-Laser. As well as we provide workflows with extensive Color Management along with LUT's and Know How to create extremely accurate Film's Digital counterparts for the Internet, HD, SD and Digital Cinema. We additionally deliver copies and high quality lab services through our partnership with Kodak Cinelabs Greece. We collaborating closely with Post Houses, Producers, Cinematographers, DIT's and Students.

It’s in our business philosophy to innovate always… so we don’t only offer the typical Filmout service that can be found in many high end facilities worldwide. We aim to the maximum possible quality, so we have a more sophisticated service, apart from the typical one.

Film recording in the modern digital Intermediate film process is the last step. It’s a laborious work, that needs a lot of time i.e. more than a week to print a full feature and it needs very tight quality control to get the colours accurately represented. Additionally we want to have the ability to get all kinds of digital copies while we want to Color Correct our movies just once and have everything matching in the Internet, in HD Blue Ray, in DVD's, in the Digital Cinema theatre all in line with Film.

This last point is paramount in order the resulted images in the theatre as well as in all the digital mediums involved, to be as appealing as the director and producers wanted to be, when they colour corrected the film during the post production phase.

Someone said once, on a Apple Color forum: “and in the final analysis the filmout result is still "on any given day"... depending on the bath temperature, titration accuracy, phase of the moon, neap tide, swinging a chicken counter-clockwise instead of the other way around, etc.”

Well, it’s not like that any more…

The process to get the image to the film, exactly as it was looking in the post phase is our expertise. To get the “What You See Is What You Get” (WYSIWYG) is the secret of an exceptional film recording process; this matching is the ticket to a beautifully projected film and an exceptional DCP.

Even in the digital era, if you have process your movie with the intention to print it on film, even though you are going to digitally project it, because of the way the process works, you will get a much more appealing or “filmic” look in the digital theatre, without even print to film at the end.

More over to print in 4K in negative, is a good alternative way, to store (backup) for centuries, your digital work of art and be prepared for the forthcoming decades when 4K distribution will be the norm, since digital storage is still a high risk option, with a x6 cost of maintaining and a no more than 20 years horizon, whereas film has a proven track record of over a century and we still counting...

The last couple of years there is a revolution on the software / hardware needed to do the job, Apple, DaVinci, Iridas, Assimilate and others offered a new set of low cost tools that really allow almost everyone skilled to do the job, in-house.

Motion FX has succeeded numerous times the last years to assist creative people around the world to achieve what only the big players could do until today.

Next steps

To grade a movie in house and get the quality that you could find only if you pay 100K$ plus for colour grading and film out, start from the following points:

Check out what our Clients and our Partners say about us by clicking at the Client Testimonials or check out Movies Sample on the side menu.

Read more about the workflow options, what is Log and what is Linear and why is better the Log option, how we deliver DCP and for all other digital mediums, also learn more about Color Management, by clicking on the side menu the Workflows & LUT's

Also check out the Film Recorders that we use, and have a better digested opinion of the options available by clicking on the side menu the Film Recorders, additionally check which solution is best for the long term archive of your movie.

And then depending on your position in the movie production chain select from the side menu and choose the various levels of collaboration that we can have:

For Producers that want to do a digital intermediate and get only the best in pricing and quality.

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For Post Production facilities that want the maximum quality, the know how and to be able to do high end Color Grading in house and offer the DI Filmout and DCP services to their clients in their region.

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For Cinematographers that want to get a good film out representation in their Apple Mac FCP/colour correction workstation or want to get the best result with the minimum possible cost along with consulting and know how.

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For DIT’s that want to facilitate a production that needs to finish for theatrical release we offer custom LUT's  to be used with 3cP, Color, Iridas onset, BMD and other on set preview tools along with know how and consulting.

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For Students that want to get a good Filmout or DCP representation in their Apple laptops in order to grade their short by them self’s and in case of Filmout to get a good result.

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For "Just a Filmout" and the one that doesn’t care much about colour management and just wants a moderate quality film out using Linear REC709 method.

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Generic LUT's to get a fair Filmout representation in their Apple laptops in order to preview footage.

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