We use the very latest model Lasergraphics ScanStation 6.5K HDR. Lasergraphics scanners are arguably the industry standard for film restoration and as such the ScanStation is Netflix approved, Kodak approved (installed in Kodak labs around the world), and used by the likes of The Criterion Collection, Warner Bros, NBC Universal, ABC, and countless other leading motion picture facilities.  

Yes, we do! You can browse our current range in the webstore. Please note: International stock purchases are not available via the webstore. Please email contact@memorylabfilm.com to place your order (including if you’d like regular or express shipping with Auspost OR DHL courier) and we will email you an invoice ASAP.

Most freshly processed film is scanned same day, but may take 2-3 days pending our schedule. Archival jobs typically take 1-2 weeks. We offer a 24 hour Rush service for $33 per camera roll (ie 100ft for 16mm, 50ft for Super 8) should you have a tight deadline.  

We don’t currently offer processing services, we specialise in motion picture film scanning & 16/35mm motion picture filmstock sales.  

Sorry no, Kodak no longer allows this.

We do! We regularly ship overseas to NZ, SE Asia. Auspost is the cheapest option, but we can also courier with DHL should you need expedited shipping.  

Whilst we cannot guarantee how film is handled once it leaves our facilities, we have never encountered any X-ray/CT fogging issues sending or receiving film overseas (or domestically) in the last decade.  

When flying with film, always keep your film in carry-on and ask for a hand inspection. The Xray in checked luggage is much more powerful than carry-on and WILL fog your film. Many international airports are starting to use more powerful CT scanners for carry-on now, which risk fogging your film (especially film over 200ASA). Most airport staff will agree to a hand inspection if you ask politely. Best to bring a change bag in your carry on to help them thoroughly inspect without risking exposing your film.  

Whilst we can natively scan to DPX (10-16 bit), we strongly advise against DPX or other uncompressed file formats for 90% of projects. DPX is a legacy format from 1994 that has become increasingly redundant when compared to modern visually lossless compression formats like ProRes444XQ. There is very little practical advantage for the vast majority of projects, with the downside of enormous volumes of data that can be very restrictive to handle. Unless you are undertaking intensive feature film restoration, VFX, high end institutional archiving, or your Colourist has requested DPX deliverables, we usually advise that one of the flavours of ProRes will most likely better suite your needs. Contact us to discuss which file format/s best suit your project.  

We do not currently offer this service, and there are no facilities in Australia who offer it. There is no consensus on the terminology for this process, but is sometimes referred to as ‘Film Out’.  The gold standard equipment is an Arrilaser, best to find a lab overseas with this machine such as Fotokem, Cinelab, etc.

Email is the quickest means of contacting us. Instagram and phone messages may not be monitored as actively. If you’d like to visit in person our studio is open by appointment weekdays 10-5:30pm. Please note that we do not monitor emails or messages after hours or on weekends.