Steven Morowitz, CEO of Distribpix elaborated: “I have been working with the guys at Process Blue, well before they were at Process Blue…Since I began working with them at the new lab in Bridgeport, it has been an amazing experience. The level of knowledge about film transfers, archiving and film history is top notch. I have worked with many labs, and there are plenty of great places out there, but for my money and my approach, there is no better facility than Process Blue. About an hour north of NYC, and armed with the only Golden Eye 3 in North America, Process Blue is ready for anything thrown their way.”
Emerson and Rubin’s commitment to satisfying the specific needs of each client was also a major factor in Morowitz’ choice of Process Blue: “My latest project, which is by far my biggest undertaking, has resulted in countless challenges…Process Blue, opened it’s arms to me and together we embraced all the challenges…One of the aspects of Process Blue that I enjoy most is their flexibility to work with clients and customize every project, to fit the unique needs of each client, from a very lengthy and complex restoration to a simple HD film transfer…all of my negatives are scanned at Process Blue.”

Process Blue co-founder, Joe Rubin, stated “It’s a pleasure to work with a company like Distribpix, which has focused so much time on protecting their film assets. So many archives want to preserve their collections but simply cannot afford it. At Process Blue we offer an extremely high quality digital preservation solution which allows smaller and independent studios the opportunity to receive work which is on par with that offered by larger facilities but at a price they can actually afford.”

For more information on Distribpix, visit www.distribpix.com

With state-of-the-art facilities on both coasts, Process Blue is the next-generation of digital film restoration studios. From inspection, repair and cleaning, to a complete 2k or 4k digital restoration, we are prepared to affordably restore your fragile and archival 8mm, 16mm, and 35mm film, including nitrate. www.processblue.tv

Jeremy Rumas on the decision to go with Process Blue, “I chose Process Blue for final 2K scanning and color correction of my footage for HANGS UPON NOTHING mainly because of
my experience working with Ryan Emerson over the last few years while he was in Chicago. Ryan has overseen transfers and color corrected nearly all 16/S16mm film footage I have had transferred so far for this film project.”

Process Blue’s mission is equal parts preparing the images for an eventual release and also
preserving the footage of Jeremy’s cultural journey. For this reason, it was decided early on in the workflow discussions to digitally capture every frame in full 2k resolution. Process Blue has been tasked with scanning, coloring and dust-busting well over 20,000 feet of R16 and S16.

Film scanning has already begun on their new Golden Eye III film scanner. According to Process Blue Co-Founder Ryan Emerson, “It’s is a ton of film, some facilities could take well over a month to scan and dust-bust the entire project in 2k. Our workflow will allow us to scan and restore the footage in a week’s time. It’s game changing.”

“This project is exactly why we built Process Blue,” says Emerson. “Archival film restoration is our concentration, but our equipment and skill sets can adapt to any project of any size. We are not a commercial (ad agency focused) post company and I think that’s what makes us such a great choice for independent film productions. Filmmakers are continually surprised by our rates and quality of service.”

Rumas adds, “The pricing is definitely good for independents. And their new Golden Eye III film scanner is looking very promising and versatile. I’m excited to finish up HANGS UPON NOTHING with Process Blue.”

For more information on HANGS UPON NOTHING visit: www.hangsuponnothing.com

With state-of-the-art facilities on both coasts, Process Blue is the next-generation of digital film restoration studios. From inspection, repair and cleaning, to a complete 2k or 4k digital restoration, we are prepared to affordably restore your fragile and archival 8mm, 16mm, and 35mm film, including nitrate. www.processblue.tv

“It was an honor to work on this project with Bob Furmanek of the 3D Film Archive and to put our archival film scanner through its paces,” Process Blue Co-Founder Ryan Emerson, “For the 3D effect to succeed you need near perfect registration between the left eye and right eye images which exist on separate 35mm elements. Bob and his technical crew were very impressed with the stability of the images which will lessen their 3D post work load.”

Bob Furmanek, Founder of the 3D Film Archive on his experience, “I am very pleased with the results. I brought two different elements for 3-D films with very specific problems. The 1940 b&w short was a blow-up from 16mm and Process Blue’s scanner brought out every level of detail to be found in the original material. In addition, the dust-busting done on the final shot of a locomotive racing towards the camera was a tremendous help in recreating the excitement felt by audiences in 1940 watching a train about to fly off the screen. The second short was a very faded color print from 1953. This is the only surviving material as no negatives or elements are known to exist. Once again, their scanner brought out every grain of information on the original left/right 35mm source. In addition, the color correction brought back a palette of colors that have not been seen on this film in many years.”

Added Furmanek, “I could not have been happier with the quality of the work and the professionalism of their staff. I look forward to transferring more 3-D rarities with Process Blue in the very near future!”

For more information on the 3D Film Archive visit: www.3dfilmarchive.com

With state-of-the-art facilities on both coasts, Process Blue is the next-generation of digital film restoration studios. From inspection, repair and cleaning, to a complete 2k or 4k digital restoration, we are prepared to affordably restore your fragile and archival 8mm, 16mm, and 35mm film, including nitrate. www.processblue.tv