Fact Not Fiction Films’ ambitious large-format short film ‘Ellston Bay’, directed by Nicholas Eriksson and supported by Kodak Motion Picture Film, is currently in the final stage of post-production.
With the support of Cinelab London, next week the original 35mm VistaVision film negative is scheduled to be scanned at 4K resolution. This final step will facilitate the addition of VFX elements, and a final grade under the supervision of Toby Tomkins, Head Colorist at CHEAT.
Following the creation of a 4K DCP, the film will be ready for screening on the biggest screens, including IMAX theatres both in the UK and internationally.
Director Nicholas Eriksson stated:
“I am thrilled to be able to present Ellston Bay in its final form, and am especially looking forward to screening the film to our loyal supporters and backers who have been there from the very beginning. With the kind support of the entire team at Cinelab London, we are now in a position where we can really communicate the benefits of utilising such a grand format. Not too long ago, we decided to originate Ellston Bay in 35mm VistaVision, one of the greatest motion picture film formats ever created. It gives me great pleasure to report to both audiences and filmmakers that VistaVision is both alive and well as an origination format.”
Production Manager Beth Moran commented:
“Going for a test screening in the IMAX shows just what an achievement this film is. Not just for us as an independent British film production company but a reflection of what the British film industry collectively has achieved in this film.”
Ellston Bay is a highly ambitious short film thriller, set against the backdrop of the red Jurassic cliffs of Budleigh Salterton, in Devon, England.
A middle-aged man becomes increasingly concerned for his elderly father’s welfare (Played by John Rhys-Davies (Lord of the Rings, Raider’s of the Lost Ark)) after leaving repeated telephone messages at his childhood home by the coast. On arrival, he discovers no sign of his father or any clues as to his whereabouts. The son enlists the help of the local authorities and enquires with the nearby villagers as to his father’s likely location. Unbeknown to the son, the people that he encounters are not all that they seem and cannot be trusted.
For further information please contact:
Fact Not Fiction Films Ltd
30 Worthing Road