/News 29.08.16


Ausfilm recently sat down with Spectrum Films Post Producer Catherine Armstrong in their brand new facility at Fox Studios Australia to chat about how Spectrum helps filmmakers get the perfect end result.


Ausfilm: What is your role at Spectrum Films?
Catherine: As a Post Producer I work alongside the Head of Sound, Online Editors, Engineers and Colourists to ensure all the elements needed for the completion of a project are delivered on time (and budget) I spend a lot of time with our clients (Producers, Directors, Post Supervisors, Cinematographers) to develop workflows and schedules that fit the creative needs of each project, whether it be feature films, television dramas, documentaries or short films.

Ausfilm: Tell me about Spectrum Films, what is it known for in the filmmaking community?
Catherine: Spectrum Films is a family business. It is one of Australia’s longest standing post-production houses with over 53 years of experience. We are known for being a creative hub for both established and emerging filmmakers from around the globe, on major productions such as The Matrix, The Great Gatsby, X-Men Origins:Wolverine and most recently Alex Proyas’ Gods of Egypt. We provide innovative state-of-the-art technology, equipment and workflows in addition to world-class service and support so that storytellers can collaborate and achieve their creative vision.


Ausfilm: What services does Spectrum Films offer to filmmakers?
Catherine: Our core business began in offline editorial facilities and has now extended through to both picture and sound finishing. Our new facility in the Frank Hurley Building at Fox Studios Australia offers refined technical services including edit suites, online picture finishing, colour grading, digital cinema mastering, and a custom built sound mixing theatre, as well as sound design, editing and post-production management.

Ausfilm: What has Spectrum Films worked on recently?
Catherine: We recently had the pleasure of working with Pietro Scalia and the editorial team for Ridley Scott’s Alien Covenant while they were shooting in Sydney.

Jane Campion and her team are busy editing Top of the Lake Series 2 and we will begin the sound post for that in the coming weeks.

Editorial and Sound Design for Sotiris Dounoukos’s Joe Cinque’s Consolationwrapped not long ago. We are thrilled forSortitis and his team as the film has just been selected to screen at the Toronto International Film Festival. We have also been working on some amazing Australian television productions including Brock, The Secret Daughter, Channel 7 News Specials – In Cold Blood: The Chris Lane Story &Anita Coby. It’s fair to say we’ve been keeping busy!


Ausfilm: What is a memorable production you have worked on, and why?
Catherine: The most recent project we completed has been both one of the most memorable and challenging (in a good way!). Motorkite Dreaming is the ultimate Aussie adventure story. Four amateur adventurers take two microlights – otherwise known as ‘motorbikes with wings’ – and fly them 4,000km across 4 deserts.

The team had a lot of fun completing the post-production (including grade and online, sound design and final mix) for the theatrically released feature documentary (which premiered at Australian Hot Docs) as well as a five-part TV series for international and local broadcast. The production was shot with multiple cameras and limited sound resources on location (in the air and on the ground!). We worked closely with the Producer John Cherry to build a team of talented post professionals (graders, designers, foley artists) in order to bring it all together and deliver a smooth, exciting and vibrant tour across Australia’s desert landscape.

Ausfilm: What’s up next for Spectrum Films?
Catherine: Our grading suite and brand new Mix Theatre are working overtime. Some really exciting projects in the pipeline. We can’t wait to share them with you.

What to know more about Spectrum Films?
Catherine Armstrong
Post Producer
[email protected]

or visit www.spectrumfilms.com.au