Neglab, a motion picture film laboratory for processing 35mm and 16mm color negative, will reopen its doors later this month, providing high-quality film processing services in Sydney. Werner Winkelmann, original owner of the facility, has more than 25 years of experience working in the lab industry and brings extensive expertise to the entire imaging chain.
“All of us at Neglab are thrilled to re-engage with the filmmaking community and provide outstanding lab services for the region,” said Winkelmann, co-founder and technical operations manager. “We are poised to provide unparalleled services, and have brought together a staff of professionals with incredible knowledge and a dedication to superior quality control standards.”
Winkelmann has been involved in building ECN2, ECP2 and ECP3, and black-and-white processors throughout his career. Joining him at Neglab will be Herbert Stegbauer, director and owner of Stegbauer Pty., manufacturer and supplier of film processing equipment. Stegbauer started his career at Colorfilm and later co-founded Filmlab Engineering. Neglab will operate out of Stegbauer’s factory. Together, Winkelmann and Stegbauer have assembled a team of experts with a combined total of more than 80 years of experience in the film industry.
Neglab has been designed to provide motion picture laboratory services to filmmakers, installing the latest design magnetic drive processor, and surpassing standards for cleanliness. The backup and safety systems on Neglab’s processor ensure trouble free operation and perfect processing of 35mm and 16mm color negative formats.
“We know that labs need to be responsive to filmmakers,” Winkelmann said. “We offer location pick up and handling anywhere within the Sydney central business district, and all rushes will be quickly delivered directly to the production’s telecine facility of choice. We can also arrange Interstate shipments at reasonable rates, when requested by the customer.”
Neglab originally opened in July 1997, and briefly suspended operations a few years ago based on industry economics. But with today’s production landscape and a resurging choice by filmmakers to originate on film, Winkelmann saw an opportunity to reopen.
