Ah. for the good old days. when filmmaking wasn't the walk in the park that it is perceived to be nowadays. True enough, getting anything done was always comfortingly time-consuming, fairly costly and always bloody awkward to achieve. But has it really changed? And, if so, is it for the better?

The simple answer to the above is yes and yes. Technology now plays a liberating role in post-production. and it is fair to say that the advances that have been made to improve the quality of the visual and listening experience are matched only by the ability of the machinery employed to streamline the process. Clearly, with so many different forms of delivery, including digital projection, 3D exhibition, large high-resolution formats such as IMAX. Blu-ray. HD-lV and not forgetting plain old 35mm film, the industry as a whole has become increasingly dependent on the solutions afforded by digital post technologies. But is this becoming a case of the digital ‘tail' wagging the industry 'dog'? With the advent and rapid development of such systems and software as Avid. Final Cut. Baselight and Pro-Tools, the process of filmmaking has changed beyond recognition and, interestingly, the post-production houses are also changing the way they interface with the production sector. The big guns in the UK sector such as Molinare, LipSync, Prime Focus and Ascent Media increasingly offer help and access to investments for UK productions. Mark Foligno, MD of Molinare, has been a key proponent of this move into the riskier environs of film financing. He says, "At Molinare we recognised that to survive and thrive, we had to be able to support the independent sector with more than just a post offering. We are known for being big supporters of British independent films and we've finished over 200 films including London to Brighton. Man on Wire and last year's BAFTA-winning Moon”.

But filmmaking in the UK is difficult and. to help the modern producer, modern solutions are required. Foligno adds, “We now offer the commitment of helping producers find finance and help them tell those great stories through our complete scene-to-screen solution, and this has been a major reason for continued growth in the film market. We will have to keep pushing the envelope re development and evolving our business model to suit."

The role that the modern post production house is taking is rapidly evolving. and Molinare also offer marketing support and assist producers to deliver trailers, international showreels, making-of shows and electronic press kit (EPK) delivery. They even offer the facility of getting the producers solid advice from recognised industry players, to assist them through the choppy waters of the film commercial sector.

Industry veteran and BAFTA award winning sound specialist Lionel Strutt of the renowned Mayflower Sound, whose credits include everything from Thunderball through Aliens and Raiders of the Lost Ark to this year's Streetdance 30 says:

With a wry hint of detached amusement he adds, “I started off my career working with puppets [on Gerry Anderson's Thunderbirds] and it looks as if things are now corning full circle for me."

Younger practitioners echo his sentiments. Nick McCahearty, film editor and creative director at marketing and post-production specialists Magic Lantern Digital. says, “You often spend weeks grading your picture only to view the 35mm print conditions in your local fleapit that in no way resemble the original work! Don't get me wrong, I adore 35mm over any other format out there, but at last the world of digital has embraced the nuances and organic depths of celluloid and breathed new life into it in the form of the 0CP."

The impact of this new digital workflow can also benefit producers and distributors, particularly those in the independent sector. McCahearty adds, “We released the movie Psych 9 [originally shot in 35mm anamorphic) this year exclusively on digital prints in the UK, both as a creative and a financial decision. The joy of seeing a perfect replica 0CP of the graded 35mm was a revelation-no more compromise, no more degeneration: what you see in the grade is what you get in the theatre. As far as I'm concerned movies have never looked so good”.

So what does the future hold for post-production? Cost-effective digital imaging solutions such as the new range of hi-def video-friendly SLR cameras and shelf-bought editing software like Final Cut means that young and old filmmakers alike have access to a bigger range of post production tools and solutions than ever before.

We are constantly being told that in a few years young film fanatic computer geeks will be able to shoot a film on an inexpensive camera, cut it. sound mix it and put on the effects for less than it costs to book an online suite in London for a week. If that's so, then perhaps the days of the specialist post-production engineer could be over. In reality, that is just not going to happen. as creativity and the multilayered visionary processes of a great film is very much a team game.

True, the post-production companies will need to step up to the plate and probably take on more of the role of co-producer if they are to compete against the cheaper alternatives in the worldwide market. That is no bad thing. All competition is basically healthy. as long as the end result stacks up.