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1989-90 |
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| Las Palmas Productions, Inc. developed a proprietary tape to film transfer process that created the highest possible quality film recordings. This technology paved the way for a new type of company , The Digital Laboratory - EFILM. |
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May 1991 |
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| Using its film new recording process LPPI produced a movie trailer and a Klingon view screen effect for Paramount's Star Trek 6, Undiscovered Territory. |
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May 1992 |
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| The company film recorded its first series of British Petroleum commercials for theatrical release in cooperation with Industrial Light and Magic (ILM). |
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February 1992 |
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| LPPI applied for the trademark EFILM™. |
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| July 1992 |
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| Disney's Honey I Blew up the Kids was the first feature film that used EFILM's proprietary film recording technology. |
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January 1993 |
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| EFILM offered its film recording services to commercial, music video and movie trailer producers. Music videos include, Michael Jackson, Madonna, Elton John, Dr. Dre and Sting. Movie trailers titles included "Waiting to Exhale", "Get Shorty", "Malcolm X", "Forrest Gump" and "Maverick". |
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February 1993 |
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EFILM film recorded 10 Coca Cola commercials for theatrical release in over 5000 theaters throughout the United States and Canada. This was the largest, digitally recorded commercial release at the time. After the Coca Cola spots, EFILM film recorded commercials for McDonalds, Air New Zealand, 7-up, Nike, Reebok, Levi's, Timex, American Express, Microsoft, Volkswagen and Eastman Kodak.
These cinema spots quickly lead the application of EFILM's technology to high resolution images for motion pictures. |
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Spring 1993 |
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| EFILM launched its high resolution services and booked its first major feature film project, "Coneheads" for Paramount Pictures followed by sequences for "Blink", "Blown Away", "Man's Best Friend", "Little Rascals" and Dave. Previous to this time a few prototype projects were done including Honey I Blew up the Kids and The Muppets Christmas Carol. |
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1994 |
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The EFILM team provided film recording services for the Paramount films Star Trek: Generations and Drop Zone. |
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| November 1994 |
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| EFILM added high resolution scanning to its list of services. This major change in the company earned EFILM the scanning and recording of 150 shots for Warner Bros. Studios blockbuster hit, Batman Forever. This project was very unique at the time as 15 different Vfx suppliers on the project were coordinated through EFILM to maintain the continuity of color images integrated into the film. While the Batman film project was still in production, EFILM provided scanning and or film recording for Virtuosity, Delores Claiborne, Jade, Mighty Morphin Power Rangers, Vampire in Brooklyn, Waterworld, Fantastics, Showgirls, Mr. Holland's Opus, Star Trek: Generations, Drop Zone and numerous other projects. |
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May 1995 |
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| The company created the world's first 2K digital intermediate color timing sequences for Batman Forever. The images were scanned, color timed and film recorded on the company's custom systems. The digital color timing system worked in real time via proxy images and allowed for interactive primary and secondary color corrections. The color settings were later applied to the 2K images. 25 minutes of special effects sequences were color timed this way under the creative direction of the film's visual effects designer, John Dkystra. This custom built system predated most, if not all, other high resolution color timing systems and gave the company a clear vision of the impact that digital technology would have on the future of film making. |
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July 1995 |
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| EFILM added 65mm film recording as a service for theatrical clients, theme parks, museums and other special venues. EFILM completed several 65mm film recording projects including T2 3D Battle Across Time, which open at Universal Florida in the summer of 1996, In addition, the company film recorded Mission to Bermuda Triangle and Disney Fantasmic Water Show. |
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August 1995 |
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| EFILM developed a new laser film recording system in cooperation with an equipment manufacturer. The system's first successful laser recording onto Eastman 5244 occurred in August of 1996 and the first production footage was shot in January 1997 for Universal Pictures's Dante's Peak. Until this date, the only other company in the world providing laser film recording was Kodak Cinesite. |
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January 1996 |
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| The company developed digital laboratory software that is used throughout EFILM for almost every step of the workflow including scanning, tape to film, film recording and video and digital cinema deliverables. Our Etron software can perform all the image processing needs for most jobs. |
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| July 1997 |
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| EFILM introduced its Eworks digital color correction software designed with a proprietary viewing approach that allowed the timer to accurately match photographed and digital images at any resolution. One of the system's most used attributes provides digital adjustments that emulate the laboratory color timing process. |
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January 1997 |
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| EFILM's laser recording system successfully recorded its first Vfx scenes for the feature film Dante's Peak. EFILM was also the choice facility to deliver 22 minutes of scanning and recording for the 1997 Academy Award Best Picture winner Titanic. The Titanic Vfx team chose EFILM because of its ability to consistently deliver images from multiple visual effects facilities that seamlessly were cut into the final negative. Additionally, EFILM was selected to film record Contact, The Devils Advocate, Mouse Hunt, Con Air, Spawn, Alien 4: Resurrection, and Austin Powers International Man of Mystery. |
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| BACK TO TOP |
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May 2000 |
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EFILM worked with Panavision to transform digitally originated HDTV 24 frame progressive scan images to film. The results opened the door to a brand new tool for creating images. |
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| May 2000 |
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| EFILM was first to transform digitally originated HDTV 24 frame footage to 15 perforation 65MM. The results were displayed for the Large Format Cinema Association conference in Los Angeles at the California Science Center and at the Universal City Walk IMAX theaters. EFILM went on to experiment further with large format film makers and completed the first ever 3D stereo HD to 65mm short film, proving, that HD can be an image capture tool for large format 3D films. |
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January 2001 |
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| EFILM delivered The Anniversary Party, Things Behind The Sun, and the documentary Scratch. Things Behind the Sun and Scratch both premiered at Sundance film festival. |
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July 2001 |
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| Panavision Inc. acquired LPPI (EFILM), as a digital laboratory that services the feature film, television, and commercial arenas. |
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January 2002 |
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| EFILM film recorded 6 projects that were accepted to the Sundance Film Festival. |
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February 2002 |
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EFILM signed an exclusive software agreement with Colorfront Software, Ltd., of Hungary, to develop proprietary software for EFILM's digital intermediate color timing process.
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February 2002 |
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EFILM started developments to improve the accuracy of digital projection systems. Specifically the refinement of the digital display matrix to better emulate film.
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March 2002 |
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We Were Soldiers was the world's first full length motion picture created as a true 2K digital intermediate. The film was digitally mastered from fade up to fade out with EFILM's proprietary technology including a number of industry firsts.
The 1st feature film to be 100% digitally mastered at a true 2K resolution.
The 1st feature film to be 100% digitally colored timed on a computer.
The 1st feature film with release prints that required NO lab timing.
The 1st feature film with close to 2000 first generation release prints.
The 1st feature film with all the video masters derived from the 2K digital files. |
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April 2002 |
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| EFILM is the first digital intermediate facility to incorporate storage area network (SAN) technology for creating digital intermediates. |
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| July 2002 |
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Deluxe Laboratories became a 20% owner of EFILM.
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August 2002 |
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| EFILM expanded its facilities by 8,000 square feet and added multiple digital color timing suites. This poised EFILM to become the leader in digital intermediates with the largest dedicated digital laboratory in the industry. |
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December 2002 |
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By year end EFILM completed 8 of the total 15 domestic digital intermediate films.
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March 2003 |
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EFILM completed the film recording on two 3D stereo projects. James Cameron's Ghost of the Abyss, a journey back to the Titanic shot in 24P HD stereoscope and presented in the 3D over and under format. |
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The second was Robert Rodriquez's Spy Kids 3D. This show was shot in 24P HD stereo and distributed in the stereo anaglyph format. EFILM created eight digital negatives that were used to make the highest possible quality release prints. The project was also shown in a few digital cinemas. EFILM developed and refined this unique 24PHD color anaglyph process for Robert Rodriquez and Miramax and the effort became a first for our industry. |
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March 2003 |
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| EFILM and Panavision developed proprietary optics for the digital projection systems EFILM uses in its digital intermediate process. Coupled with our digital calibrations, the optical improvements gave EFILM the most accurate emulation of film via digital projection. The optical modifications were put on-line in June 2003. |
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April 2003 |
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| EFILM did the worlds first location based Digital Color Timing for a theatrically released film, Universal's Bruce Almighty. The work was done under the direction of Dean Semler, ASC in Austin Texas while Dean was shooting The Alamo. The system included EFILM's computer based color timing system, proprietary digital projection and our colorist. The session lasted two days with Dean giving specific direction and previewing the results on location via a digital projector. EFILM then returned to its home in Hollywood with the meta data created on location to complete the film. We believe the methods we developed for our prototype location color timing system set the standards for future remote systems. |
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December 2003 |
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| 23 Digital Intermediates versus 8 in 2002.
18 sequences/trailers.
22 Sets of video deliverables.
700 digital opticals.
5.9 million frames scanned.
15 million high-resolution frames film recorded.
4 million frames of tape to film recordings.
250 TB of data processed. |
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April 2004 |
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| Universal's Van Helsing is digitally assembled at 2K and EFILM created digital cinema preview screening versions directly from the 2K files. This is an industry first. All previous digital previews came from the HD process. The EFILM approach insures that all the work that goes into the preview screenings ends up in the final movie. |
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June 2004 |
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| The blockbuster Spiderman 2 broke new ground with the world's first 4K digital intermediate. EFILM scanned the live action film, digitally assembled the cut, color timed the entire film and finally rendered and film recorded Spiderman 2 at 4K. Other industry firsts include nine digital negatives that generated 10,000 first generation domestic prints as well as RGB HD video masters derived from the high resolution images. |
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August 2004 |
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| Deluxe Laboratories, a world leader in services and technologies for the entertainment community, assumed sole ownership of EFILM after reaching agreement to purchase Panavision’s interest in the industry’s premiere digital film laboratory. Already a 20% owner, Deluxe completed the purchase of Panavision’s 80% holding to become the outright owner of EFILM. |
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2005 |
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| EFILM introduced the EWorks™ digital color correction system in concert with Autodesk. |
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| June 2005 |
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| Virtual Keycode EFILM introduced a virtual keycode mechanism that enables unique tracking, identification, frame accurate editing and asset management of each and every frame (up to 5.45 sextillion), either digitally generated, composited with other (single or multiple) film material. |
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January 2006 |
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| DELUXE FILM New Ownership The Rank Group today announced that it has agreed to sell Deluxe Film to MacAndrews & Forbes Holdings Inc. The sale includes all worldwide business units within the Deluxe Film group. EFILM is wholly owned by Deluxe. |
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March 2006 |
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| EFILM® created and launched Colorstream®, the most precise way for directors of photography (DP’s) to manage color in motion picture film or video productions. Colorstream® is a proprietary viewing and color correction tool for use on the motion pictures set that allows for on-set emulation and pre-visualization of digitally captured content. The Colorstream® color science tool allows DPs to manipulate, store and retrieve printer lights, contrast, saturation and explore special looks they develop with the film’s colorist prior to shooting. Color decisions made on set are then imported into the digital dailies and digital intermediate (DI). Colorstream® allows for the efficient hand off of images from dailies to previews into DI and deliverables. From on set previews of digitally captured images through the post production, the Colorstream® state of the art technology allows for the precise tracking of all frames through the entire digital motion picture production process and has been used in such feature films as "Click", "Apocalypto", "Appaloosa" and "2012".
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June 2006 |
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| EFILM® created and launched SAMSARA®, the industry’s most powerful frame based production management database. From the initial scanning of the film, through editorial/color timing, to the ultimate deliverable (whether film, DVD, Blu-ray or any other file format) SAMSARA® supports our data centric work flow. This state of the art digital asset management tool provides efficiencies in such areas as precise tracking of all image assets through the entire digital motion picture post production process; quality control for the duplication, replication and distribution of digital cinema, film, video, DVD, Blue Ray and all media. SAMSARA® has been used in such motion pictures as "Angels & Demons,"Inglorious Basterds" and "Julie & Julia". |
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October 2006 |
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EFILM Trailers - New beginning for finishing
EFILM, the world's leading Digital Laboratory, opens a separate division dedicated solely to finishing motion picture trailers. EFILM Trailers is a natural extension of the technical innovations for Digital Intermediates applied to the demanding marketplace of trailers. |
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March 2007 |
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| YCM EFILM received a technical achievement award from the Academy of Motion Picture Arts and Sciences for their creation of the Digital Color Separation process for archival of motion pictures. |
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