DigitalFilm Tree

DFT is a post, production, creative, & software development company. We post NCIS: LA, Ted Lasso, Umbrella Academy, Home Economics, Dave on FX & many more.

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Our latest restoration: Lost Treasure: Handel's Messiah in Bethlehem 🕊️

Filmed in 1994 in the Church of the Nativity, it united Israelis, Palestinians, Christians, Muslims & Jews. We revived it from one aging VHS tape.

Read more: https://t.co/QuHFOqTvJl

#FilmRestoration

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Most indie creators make a feature. Glen Evelyn self-funded an entire 6-episode series. 🎬

Our Family Pride is now touching hearts and winning awards at festivals nationwide.

#OurFamilyPride #IndieFilm

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Each Rewind episode revisits the projects, the problems we solved, and the people who made it happen. Great work doesn’t expire.

For the love of story.

#Scrubs #DFTRewind #VFX #PostProduction

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Following the recent Scrubs premiere, it’s only fitting to look back at where the ground-breaking post-production journey began.

Welcome to Rewind: DigitalFilm Tree’s mini-doc series on the projects and people that shaped us. We’re starting with one of our favorites. 🧵

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Whether you caught the premiere or remember the original run, Scrubs is proof that innovation and bold leaps pay off.

Since 1999, DFT has partnered with the world’s greatest storytellers across color, VFX, dailies, editorial, finishing & restoration.

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Big news for California film! A $10 million tax credit bill was officially signed by Governor Newsom. This is a win for the local industry. What do you think this will mean for the future of post-production in California?

Full story: https://t.co/I1HShbHPv3

#DigitalFilmTree

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Thank you to the team behind the lens, in the cutting room, and at the console 🎬

Post: Ryan Stephens, Emily Russell, Kaleigh Spencer, Joe Berk
DP: John Brawley
Colorist: Thomas Galyon, CSI
Finishing: Scott Bradbury, Jacob Tillman
Dailies: Matthew Markley

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Setting the tone for Shrinking.

For more than three decades, Bill Lawrence has brought a distinctive vision to TV. On Apple TV's Emmy-nominated comedy, that vision comes to life through collaboration across the writers' room, production, and post. 🧵

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Go behind the tone.

DFT is proud to support Shrinking with dailies, GEOpost, color, VFX, and finishing. Read how VFX and color shape its emotional arc on The Latest: [link]

Working on something ambitious? → https://t.co/fIkzPEiBAf

#Shrinking #AppleTV #PostProduction

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"It's a proven production engine."

Read the StageRunner feature on Hollywood's multi-cam comeback and why DINKS is leading it.

We aren't just looking back at the golden age of sitcoms — we're building the process to sustain them.

https://t.co/fIkzPEiBAf

#DigitalFilmTree

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The sitcom revival starts with DINKS.

Amazon MGM's new comedy — starring Paul Scheer and June Diane Raphael — is betting on live multi-cam. Here's the post pipeline that keeps up with it. 🧵

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Cut fast. Stay live.

Live multi-cam demands on-the-fly editorial turnaround. DFT's post pipeline keeps pace with every taping, so the room keeps moving and stays camera-ready.

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"It felt like a portrait."

Read the American Cinematographer feature Rooster: Time for School for Blake McClure's full visual strategy and the collaborative path from set to dailies.

Working on something ambitious? → https://t.co/fIkzPEiBAf

#Rooster #HBO #Cinematography #65mm

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A portrait look, built for Rooster.

Cinematographer Blake McClure, ASC set out to make HBO's new hit series feel intimate and autumnal — while shooting on tight Southern California stages. Here's how the look came together, from set to dailies. 🧵

[DigitalFilm Tree @DigitalFilmTree]

Fix the artifact. Keep the look.

The LUT and vintage Falcon lenses exaggerated monitor vignetting. A custom reverse-vignette node, applied in DFT's DaVinci Resolve dailies workflow, let the team review the intended image with confidence.