Team

We are a small boutique facility dedicated to Archive and Restoration. Through senior positions with major film facilities like Technicolor, Deluxe, Ascent Media and Soho Images, we have all worked on many archive and restoration projects of various levels of budget and scale. This makes us a unique team of experts with a vast range of relevant experience and love for film.

Maurizio Cisterna – CFO & Founder

Founded FilmFinity in 2017 after over 15 years of experience as a corporate finance manager in the media industry- Skilled in business development, team building and project management – Previously worked at Universal Pictures, Deluxe, Technicolor and Moving Picture House 

John Pegg – CEO

Over 35 years experience in film and digital post production – Ex-head of post production in Pinewood & Twickenham Studios
Ex-head of restoration at Pinewood, Deluxe and Midnight Transfer – Experienced team leadership and project management across groups of companies – Post production supervisor with extensive expertise in film and digital workflows

Clayton Baker – Operations Manager

25 years of experience working in broadcasting, film and TV post production – Experienced user of film scanners including Arriscan, Scanity, LaserGraphics, Northlight, Spirit and Black Magic – Proficient user of grading and restoration software including Resolve, Nucoda, Phoenix, MTI Nova and Diamant. Worked on restoring BFI titles including the Great White Silence, The Hitchcock 9 Project, plus graded multiple titles for clients including Studio Canal, BFI, 88 Films and many more.

Tom Barrett – Operations Manager

Over 25 years of experience in post production, experienced user of restoration software including Phoenix, MTI and Diamant, skills include project and data management, editing and conforming. He has restored hundreds of TV dramas, Feature Films and Music content, including Doc Martin, The Third Man and The Beatles No 1’s.

Paul Gowlett – Restoration Specialist

With over 17 year experience in Post production, film and restoration. Paul is proficient in a number of different restoration and Post production programmes including Phoenix, Resolve, Avid, MTI, Adobe Suite and Isotope RX (audio restoration). He also has experience Scanning using the LaserGraphics, Arriscan and Blackmagic Scanners.

 

Chak Chung Yin – Restoration Specialist

Over 21 years of experience in Digital Film Restoration and the re-creation of special effects sequences. Proficient user of Smoke, Phoenix, Diamant and MTI restoration software  packages. During his career he restored over 1000 prestigious films. He has held several different job roles within the film industry that includes department supervisor.

Lauren Quinn – Restoration Specialist

Lauren has a First Class Honours in Editing and Post-Production, worked for ITV and on to a large back-catalogue of feature cult classics such as THE AMITYVILLE HORROR and DAWN OF THE DEAD. Lauren has also dutifully catalogued, ingested and restored multitudes of music archive for renowned artists, across a wide variety of video and film formats. ( NO TIME TO DIE and APOLLO 11, dubbed “Queen of Restoration” . Works with Phoenix and DRS Nova.

Patrick Beveridge – Film Technician

Patrick started at Film Finity in the Autumn of 2021, He previously worked on the Sound and Vision project and Reuters collection at the Soho Film Lab when it became part of DeluxeMedia Europe. He has an MA in Film Studies with Film Archive Option (UEA) and did a placement at Prestech Laboratories under the supervision of the film restorer Joao D’Oliveira, where he worked on the retrieval of faded colour in Eastmancolor prints.

Trevor Brown – Colourist

RTS Award nominated Colourist – Vast experience in grading all types of film and digitally acquired material, currently using Resolve, Baselight and Nucoda – Grading experience includes DI for theatrical release, TV drama./documentaries and all kinds of grading restoration work – Graded many hundreds of restoration/ archive titles over over the years including working on the Hitchcock 9 project for the BFI – A sympathetic eye to grading archive material, staying true to the original film maker’s intent whilst presenting vintage material as it’s best in today’s display formats including DCP and HDR.

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