Without Labs, Film Is Tongue-Tied: Many Cinematographers Owe Their Work to Film Laboratories

A ceremony honoring artists of the Iranian Film Laboratory Guild was held at the House of Cinema on Monday, 20 Mehr, attended by film figures and cultural officials.

According to the report of Ambassador Arjan, citing the public relations of Khana Cinema, at the beginning of the program, after the welcome of Ali Zadmehr, who was in charge of the program, a clip of the activities of the laboratories was shown.

Then Homayoun Asadian, CEO of Cinema House, while welcoming the audience, pointed out the place and collective memory of laboratories in Iranian cinema and said: The concept of laboratory has a long history for us, although today its shape and image has changed. I hope that an opportunity will be provided to continue holding such a ceremony for other cinema genres as well.

In addition, Zahra Zamani, the secretary of the laboratories trade association, expressed her happiness to meet again with the activists of this area and said: We are happy to be with you once again, dear ones. Since our last meeting, bitter and difficult days have passed. But we hope to have days full of hope, love and prosperity ahead of us from now on, and I wish blessed days to all our loved ones.

Then a clip of the deceased activists of the Iranian cinema laboratories was shown and the memory of the deceased was honored and then the speeches of the living son of Bijan Jabari from the activists of the Iranian Cinema Film Laboratory were broadcasted and then with the presence of Habib Esmaili and Amir Yafsani, Hassan Jafar Lavasani and Mohammad Najafipour, two veterans of the Film Laboratory field, were honored.

In another part of the ceremony, a short documentary about the activities of Kamran Saharkhaiz was shown.

The important role of laboratories in improving cinema standards

At the invitation of Ali Zadmehr, Mahmoud Kalari, one of the leading cinematographers of cinema, came to Russen and said: The laboratory activists have always maintained the quality of Iranian cinema films with limited facilities.

Referring to the role of laboratories in maintaining the quality of cinematographic works, he said: The important point is how the department that is directly related to the technique and filming in cinema has played such an effective role over the years. Since we entered the cinema, unfortunately, we were faced with a ban, and after that, the negative board was dismantled and the cinema went completely to digital.

Clary continued: During these years, active friends in the labs were doing magic and their work was extraordinary. The things they did with the old devices at that time were very strange; Because the up-to-date negatives were not available to us and the sensitivity of many existing negatives was out of standard. However, the activists of the laboratories used different tricks to turn them into usable samples.

Referring to the experience of his cooperation in films such as "Gebbe", "Delshdegan" and "Derkhet Ghalabi", this veteran cinematographer stated: There are many examples of these efforts that I myself have been involved in. At that time, laboratories played an important role in maintaining the quality and improving the standards of films in Iranian cinema.

Referring to his first experiences in the field of digital laboratory, Clary said: The first collection that I got to know as a digital laboratory was the collection of Roshana and Kamran Saharkhaiz. At that time, the movie "Boutique" was made as the first movie in video format in Iranian cinema, and Mr. Saharkhiz showed a lot of effort and hard work at that time.

Recalling the experience of working with Saharkhaiz in one of Rakhshan Bani-Etmad's films, he noted: At that point, Mrs. Bani-Etmad announced that they wanted to make a film in such a way that the group would travel to different parts of the city, but the camera would not be seen among the people. To implement this idea, we approached Mr. Saharkhiz and he did an extraordinary job in that film. This experience was actually the beginning of a new path in the use of new facilities and technologies in Iranian cinema.

Laboratories play an important role in the formation of the visual language of the film

Also referring to the role of laboratories in the quality of cinematographic works, Alireza Zarindast, a veteran cinematographer, said: "I have not had the opportunity to work with Mr. Saharkhiz, but the experiences of the laboratory in Iranian cinema have had bright spots, and we cinematographers are indebted to the activists in this field."

He continued: I remember that in the movie "Long Shadows of the Wind" the technical procedures were done in the laboratory with a very professional quality.

Saying that the laboratory plays an important role in determining the color and character of a film and assumes a significant part of the responsibility of creating the visual atmosphere of the work, Zarin Dast said: I worked with Abbas Kiarostami on the black and white film "Experience", the stages of which were developed in the filmmaker's laboratory. At that time, I went to the laboratory myself, took the film positive home and watched each and every picture with love.

Emphasizing the importance of appreciating the laboratory activists, he said: Our gratitude to these people cannot be expressed in a few words because they were the ones who provided the basis for the visibility of the work of the videographers. Later, many of these activists entered the digital field and their work is still admirable.

The important role of Saharkhaiz in the transition of Iranian cinema from analog to digital

Ali Loqmani, a veteran cinematographer, also pointed to the close relationship between the cameramen and the laboratory managers at different stages of production and said: the cameramen and the laboratory managers have a close relationship with each other at different stages of production. Mr. Jabari explained that he and Mr. Saharkhiz went to Turkey in the film maker's studio to buy the da Vinci system, and Saharkhiz's knowledge was so noticed by the representative of this company that he praised him.

Referring to the process of transition from analog to digital technology, he added: In Iran, the analog laboratory did not transform into digital form gradually and along a long experience. This process took its course in the world and professional abilities were properly formed during it; But there was no similar experience in Iran. The presence of people like Mr. Saharkhiz was very important in order for this long journey to be completed in a shorter time and in a professional manner, in accordance with the standards, and for knowledge and work ethics to be transferred correctly. If it wasn't for people like him, it might take years to get from analog to digital.

Referring to Saharkhaiz's searching spirit, Loqmani said: He has always been a searching person and played an important role in introducing the veterans of the analog era to the digital space. I am happy that this important figure is being honored today.

The laboratory is part of the language and expression of the film

In addition, Behrooz Shoaibi, cinema director and CEO of Young Cinema Association, expressed his memory of working with Kamran Saharkhiz and said: Years ago, I worked on a film that was one of the digital works, Mr. Aladposh was the project consultant and Ms. Mofkham was its editor. In the middle of filming, the person duplicating the rushes changed, and it turned out that more than half of the rushes were missing. The filming was over and Mr. Aladposh said that only Mr. Saharkhaiz can solve this problem and I got to know him.

He continued: I was also in the service of Mr. Saharkhiz in my first movie "Dahliz" and I also collaborated with him in my last movie. I am happy that I had the experience of working with negatives during my assistantship and filmmaking and felt the joy of watching negatives in the laboratory.

Emphasizing the place of the laboratory in the creative process of cinema, Shoaibi stated: the laboratory is a part of the language and expression of the film, and without it, the expression of a film remains incomplete. I thank Mr. Saharkhiz for his dynamism and continuous effort and transfer of knowledge to others. Every meeting with him is like a classroom and we learn something new in every meeting.

In the continuation of this ceremony, with the presence of Mahmoud Kalari, Alireza Zarindast, Ali Loqmani and Behrouz Shoaibi, Kamran Saharkhiz, pioneer and the activists of the laboratory area were honored.

Saharkhaiz said in this section: I am happy to be with a large group of cinema artists today. Sometimes obsession and idealism make the work steps difficult, that's why the work my friends do in the laboratory and color correction is very important. I hope everyone will move in a professional direction and give new life to movies.

Appreciation of representatives of studios and laboratory activists

In another part of the ceremony, with the presence of Gholamreza Mousavi, Mehri Shirazi and Alireza Hosseini, Mohammad Alipour, the representative of Pishgaman Laboratory, and Negin Heydari, the representative of Roshana Studio, were honored.

Also, with the presence of Abolhassan Davodi, Ruhollah Hosseini and Bahram Dehghani, Ali Zaindarbashi, representative of Khat Fadzi Studio, and Arash Kazemzadeh, representative of Majd Studio, were honored.

In addition, Pedram Azimi, the vice-chairman of the laboratories trade association, also expressed his satisfaction with the organization of this ceremony and said: I am glad that we were able to organize this celebration. I would like to thank Khana Cinema, Cinemashahr Institute and the Ministry of Culture and Guidance for their support in organizing this event, and especially Mr. Bakht Talee. I hope we can continue to provide better services to our colleagues.

In the other part of this ceremony, with the presence of Maitham Zandi, Mohammad Reza Delpak, Saeed Khani and Nadera Rezaei from Sara Sehmi; Selected by Farbad Studio, Saman Majd Vafaei was honored in the category of best color correction of short films, movies and serials (chosen by laboratories) and Zahra Zamani was selected by the board of directors.

Kamran Saharkhaiz's activity helped the sound of cinema to be seen

Referring to the role of digital technology in the evolution of cinema sound, Mohammadreza Delpak, a veteran sound engineer of cinema, said: "Since digital sound entered Iranian cinema, this technology has helped a lot in the field of sound. Mr. Saharkhiz is one of the cultured and valuable people of Iranian cinema, and the Iranian Cinema Sound Association is grateful for his efforts.

Recalling the services of Yadullah Najafi, he added: I also remember Mr. Yadullah Najafi who provided many services to Iranian cinema. Through dear Mr. Saharkhiz, we were able to introduce the sound of cinema more to the audience.

Hossein Faraj, one of the other participants in this ceremony, said: I am happy to be present as a member of the laboratories trade association and I ask the members of the laboratories trade association to continue their activities with more order and coherence as in previous years.

Unveiling the young talents of the laboratory

Behnoud Bakht Talee, the head of the Iranian Cinema Labs Association, referring to the importance of supporting cinema guilds, said: We are proud of Cinema House, which is concerned with the peace and support of Iranian cinema guilds.

He continued: I am grateful to the members of the board of directors of Khane Cinema, as well as Homayun Asadian, who supported us in holding this ceremony.

Bakht Tal'a apologized to Hassan Jafar Lavasani and Mohammad Najafipour for the delay in honoring these two veterans and said: I apologize to these dear ones that honoring them was done with a long delay. These people have a very brilliant career and deserve to receive a first-class artistic award.