Cinelab Film & Digital Fuels Digital Expansion with New Producer Talent
Left to right: Ingrid Civet, Steve Milne (vice chairman), Rosie Goodwin
The Cinelab Film & Digital team recently welcomed senior producer Ingrid Civet and producer Rosie Goodwin, both joining from Mission Digital, to help the team continue growing its digital offering. Both Rosie and Ingrid found their calling in production back at university, feeling the pull of the fast-paced role and the satisfaction of helping projects come to life. Ingrid, who impressively worked her way up from runner to senior producer in just four years, has been immersed in the world of digital workflows for all of her career and she was the one to actually hire Rosie too – a professional relationship they’ll be developing even further now at Cinelab.
The expanded team is a reflection of Cinelab’s growing capabilities in the digital and post production spaces which sees the lab offering a digital ‘dailies drop’ service for short and long-form projects, alongside HDR upgrades in colour suites to meet growing client needs. For the feature ‘Handling the Undead’, Cinelab put its full capabilities to the test providing full picture post production for this Oslo-set horror which premiered at Sundance, with another full post project currently in the works.
LBB caught up with Rosie and Ingrid to learn more about their production expertise and how they’re going to apply it to Cinelab’s digital offering while bolstering their knowledge of all things celluloid, why every kind of production can benefit from the lab’s services, and the dream projects they would love to work on someday.
LBB> Can you please tell LBB a little bit about your professional experience and how you found yourself on the production path in the first place?
Rosie> My love for producing began whilst studying film production at university, when I was assigned the role during our first practical shoot. After that, I produced most of the shorts I was tasked with creating across our three years and have followed the path ever since!
Ingrid> From the start of my career in the film industry, I gravitated toward the fast-paced world of production. I began as an office and on-set runner for commercials/short form, quickly moving up to a full-time production assistant, and within four years, became a senior producer. Eventually I started to produce on projects involving DITs, dailies operators, and QTAKE operators, fully immersing myself in digital workflows. Along the way, I hired Rosie—one of the best decisions of my career!
LBB> Why did you decide to join Cinelab Film & Digital?
Rosie> To me, joining Cinelab was a perfect opportunity to build on the skills and knowledge I already have of digital workflows, whilst also learning more about film dailies and the relevant processes. Cinelab has also always had such a varied and impressive range of credits, and it’s wonderful to have the chance to work on such a wide array of projects.
Ingrid> I had been in touch with Cinelab for a little while and was curious about their work on the film side. I was drawn to Cinelab because it offered the chance to apply my digital knowledge on some great high-end projects while also learning about celluloid film. The welcoming vibe of the team during my tour of the facility sealed the deal for me.
LBB> We have to ask: what are some of your favourite films/TV shows/music videos/ads that were shot on film?
Rosie> ‘Poor Things’ comes to mind because I loved its wacky nature and unique story, but overall, one of my favourite recent projects shot on film has to be ‘The Souvenir, Part II’ - it’s such an honest and beautiful film!
Ingrid> Before joining Cinelab, I didn't always think about the difference between film and digital. Now, it’s changed how I watch movies and TV. One of my favourites is Baz Luhrmann’s ‘Romeo+Juliet’ – a classic, but with such a fresh, modern twist. I’ve always loved adaptations, and this one really stands out for its style and creativity.
LBB> How will you help to ensure that Cinelab continues to offer consistent quality across its various services, from dailies to final colour finishing?
Ingrid> At Cinelab, we’re all about delivering top-quality results, and Rosie and I are committed to supporting the team in making that happen. We stay on top of the latest trends and technologies in both film and digital, ensuring we’re always learning and growing. It’s an exciting challenge. By working closely with our talented and specialised team here at Cinelab, as well as maintaining strong relationships with our clients, we’ll ensure their vision comes to life on screen, big or small, with the highest level of quality, from dailies to final colour finishing.
LBB> Can you expand on how you’ll apply your production expertise to the new services included in Cinelab’s expanded digital dailies offerings?
Rosie & Ingrid> Our careers have brought us from a world of digital only productions to a hybrid world, one where both digital and film productions co-exist. Having that exposure to both worlds makes us both great at dealing with challenges across the production spectrum, from logistics to hand holding through technical complexities. Cinelab offers many options when it comes to our digital workflows, and being able to offer our renowned digital dailies service regardless of where you shoot is something we’re really proud and focused on.
LBB> What advantages does Cinelab's remote and near-set dailies service provide compared to traditional in-lab processes?
Rosie & Ingrid> The ability to use our digital dailies service anywhere in the world means our clients can continue to use us on all of their productions. This is especially important given the trust they give us in delivering their dailies and allows us to foster those client relationships going forward.
No longer do productions have to wait hours for rushes to arrive from afar to our HQ, nor have they got a hefty bill with travel, accommodation and per diems for our lab operators. Now we can utilise technology to our advantage and do our work from a distance. Whether it’s by running a lab remotely from our HQ, or uploading rushes to us through file transfer protocols, remote workflows are here to stay.
LBB> How does Cinelab's digital dailies offering enhance the production workflow for long-form and short-form projects?
Ingrid & Rosie> Digital dailies (or Dailies labs as they’re also known after) can dramatically change your production and post production workflows for the better. Every long form production can benefit from having an overnight service whose core focus is to do tasks that are not fit for an on-set environment, by having better tools, infrastructure and more time. We consider a dailies lab the last line of defence when it comes to your post production. If something isn’t picked up by the lab, whether it’s an issue with the cameras or corrupt backups, then chances are it won’t be picked up at all until much later in post production.
Having digital dailies means your DIT can focus on what the role was created for: helping your cinematographer achieve their artistic vision. It means your edit teams having all their edit proxies ready for them the next morning, alongside all the necessary metadata. It means peace of mind with your delivery backups (LTO, hard drives, cloud) done in a secure and responsible manner.
Long story short: we believe that every scripted production, no matter how big or small it may be, benefits from a dailies lab tremendously.
LBB> What are the key advantages of the HDR upgrades in Cinelab’s colour suites, and how do they enhance the final output for clients?
Rosie & Ingrid> Our HDR capable suites allow us to review footage in both SDR and HDR, meaning we can see more clearly how images will look like in future ready HDR capable devices. More and more studios are expecting an HDR version of your projects, and as such, you want to work in a facility that understands the differences between each definition.
LBB> How does the ability to conduct remote Clearview sessions also help with this?
Rosie & Ingrid> Clearview is an incredibly useful tool to provide remote colouring sessions. At Cinelab we use it both during our productions by our dailies colourists and for our post production services. Being able to connect with our clients wherever they are shooting is remarkably useful, and we can leverage our expertise and our high speed bandwidth for a service that is more and more important in the 21st century.
LBB> Cinelab continues to expand and strengthen its post production offering. Are there any other future developments you can tell us about?
Rosie & Ingrid> We have recently delivered full picture post production on a feature called ‘Handling the Undead’, and are currently working on our second feature, bolstering our post portfolio. We are very focused in getting production teams to understand why laboratory services are a necessity, and worth budgeting for early on. A core initiative for Cinelab is to be able to offer lab services to all long-form productions. Even if you think it’s not for you, always reach out in any case. You never know what we may be able to do for your production…
LBB> Finally, are there any dream projects that you would love to work on?
Rosie> As someone who’s favourite film of all time has always been ‘Moulin Rouge’, I’d love to work on a Baz Luhrmann project at some point in my career!
Ingrid> There is so much talent out there now, it’s hard to pick but I would love to be a senior producer on a Disney or Marvel film.
