This is a written version of the above podcast, summarised for quick reading. It captures the full conversation in a Q&A transcript format.

1. Vitrina: Can you give us a background on Illuminate Hollywood’s core services and how your studio is structured?

Jim Hardy:
We’ve been around since 1995, primarily focusing on feature film mastering, restoration, and all services necessary to get movies and TV shows into the marketplace worldwide.

Vanessa Stinnett:
I oversee production and studio operations. We’re focused on making it easy for production teams to walk in, crew up or bring their own, and shoot with top quality equipment. Whether it’s a satellite media tour, commercial shoot, or a feature film segment, we offer a turnkey solution or a four-wall rental—whichever suits the client. Clients love coming back because we make their lives easier.

2. Vitrina: What makes your production facility stand out in Studio City?

Jim Hardy:
Unlike many blank box studios, we are also a live broadcast stage with full infrastructure—lights, cameras, wiring—already built in. This makes us efficient and cost-effective.

Vanessa Stinnett:
We’re right off the 101 Freeway, minutes from Universal Studios and close to where talent lives. Our turnkey options let clients plug in and go. We’re also ready to crew your project if needed. From high-end commercials to podcasts, we offer flexible spaces including a large stage and a soundproofed cozy corner stage.

3. Vitrina: What types of projects do you typically handle?

Vanessa Stinnett:
A lot. We regularly do satellite media tours, often starting at 3 AM for East Coast coverage, promoting films like the newest Spider-Man. We’ve done Super Bowl commercials and feature film inserts like Candy Cane Lane (Amazon). We support webinars, live to web broadcasts, and virtual media tours through Skype, Zoom, Hilo, etc. Our upgraded infrastructure allows for broader compatibility, and we’re rolling out advanced green screen tech soon.

4. Vitrina: How flexible are your stages and what’s included in the turnkey model?

Vanessa Stinnett:
Our cozy corner stage is ideal for podcasters and influencers—pre-lit with multiple backdrops and adjacent control room. The larger stage includes a talk show set with LED panels that match production colors, and a central monitor for content display. Both can be rented with or without crew/equipment. We work with tight budgets and offer complete packages—crew, cameras, lighting, whatever is needed.

5. Vitrina: Tell us about your talent pool and crew capabilities.

Vanessa Stinnett:
We have long-term relationships with freelancers who love working with us. From jib operators to engineers like Aldo Ortiz, our crew is top-tier. We still prefer a human teleprompter operator over smart tech—it adds a personal touch for talent. We scale crews based on the project—A-list talent for premium, or budget-conscious alternatives.

Jim Hardy:
Our post team is deeply experienced—colorists and scanning operators who’ve been with us for decades. They know how to handle everything from film negatives to modern digital formats.

6. Vitrina: What does your post-production operation cover?

Jim Hardy:
We scan and remaster from film, conform features and episodic shows, and create delivery files for all platforms. One of our key services is the iConform process—rebuilding TV shows like 24, X-Files, Baywatch, and Dawson’s Creek from uncut negatives to 4K standards. We can produce six 60-minute episodes per week, start to finish.

7. Vitrina: How are you integrating new technologies into your workflow?

Jim Hardy:
AI is advancing fast but not quite there yet. We’ve had proprietary tools like iConform and SmartRes for 18 years—way before AI was trendy. SmartRes upscales low-res images. We now combine our legacy tech with newer AI tools. Every project is unique, so our approach is tailored using a mix of tools. The goal is to help studios unlock revenue from their libraries by remastering classic content.

8. Vitrina: How has the industry landscape shifted in California?

Jim Hardy:
California struggles to compete due to lack of tax incentives. Productions go to Canada, UK, Georgia, New York—anywhere it’s cheaper. It affects not just studios but the entire ecosystem—props, catering, florists.

Vanessa Stinnett:
It’s true. We joined a coalition with the MPA to advocate for change. We can’t stay silent. If California doesn’t act, we risk losing Hollywood’s cultural and economic backbone. Everyone needs to push for legislation—executives, talent, producers. We still have the talent and the scenery; we just need the support.

9. Vitrina: Are there hidden costs when productions move out of California?

Jim Hardy:
Absolutely. Flying key crew and cast overseas often ends up being more expensive once you factor in hidden costs like lodging and logistics. Despite cheaper base rates, local supply chains are often insufficient.

Vanessa Stinnett:
And it’s not just crews—catering companies, costume houses, prop suppliers, etc., all suffer. It’s the entire support system that makes Hollywood tick.

10. Vitrina: Any standout projects that made a big impact recently?

Jim Hardy:
We remastered Beverly Hills 90210, Hostel, Pink Panther, and Repo Man. Directors and DPs often visit to see their work reborn in high-res formats. One standout was Pee Wee’s Playhouse, where we collaborated closely with Paul Reubens. His reaction to seeing the remaster was priceless.

Vanessa Stinnett:
The Cheech and Chong final movie promos were unforgettable. It was a blast—great team, and it led to more work from their crew. That speaks volumes. People love the experience here and often come back with more projects.

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