Magazine article American Cinematographer

Insight: Paul Korver

Magazine article American Cinematographer

Insight: Paul Korver

Article excerpt

When Paul Korver founded Cinelicious in 2008, he had only one thing in mind - to move the state of film post production forward.

Korver's Cinelicious is a post production studio, with locations in Hollywood and Santa Monica, offering a full slate of film and digital services. The company believes in respecting the craft and tradition of celluloid film, while leveraging all the benefits of the digital present Cinelicious has been involved with high-level, film-based projects for directors ;>uch as Steven Spielberg, Christopher Nolan, J.I. Ahrnms. and Andrew Stanton, as well as studios including Paramount, Disney, Pixar, and Warner Bros.

Cinelicious "likes digital" but "loves film." Why is film so important to you?

' I have great childhood memories involving Super 8 cameras, but mainly I just like looking at it better. I believe that humans respond to" \ celluloid when they see it in motion. It resonates with them emotionally. We say, 'respect the past and embrace the future,' It's important to know where we come from, so we don't get lost on the path to where we are going. We strive to stay rooted in how digital decisions derive from a photochemical process. No one has ever asked us to make film look more like digital. As a creative community, it's important to have a choice oi tools.

There's an old adage that says: all post companies have the same equipment, only the talent and service differ. Is that still true?

Not at all. Many companies have sold off their film equipment, are letting it age, or never had it to begin with. We've made film technology a priuritv. When we wanted to be able to scan film at 4K, we chose to invest in the [DFT] SCANITY. It sees a full 3.5 film density of dynamic range, so it can scan the full dynamic range of KODAK VISION3 Film stocks and print film as well. I come from a love of Super 8, so we also wanted to see at least a 2K Dl approach to scanning small format films. We just purchased LASERGRAPHICS' ScanStation, the first optically pin registered, 2K Super 8, regular 8mm, and 9.5mm scanner, so we've upped our investment in small format as well.

The newest old adage is: it's cheaper to shoot digital. Is that true in your opinion?

You need to look at the big picture with this question. Beyond acquisition, you have to consider the cost of digital archive, which is often left out of the budget conversation. Shooting 100 hours 2D with bonded data triplication, you can easily be over a half-petabyte of digital information on a 4K feature. …

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