Your Films in Experienced Hands
Our work is built on many years of experience, technical understanding, and a careful approach to film material. We work with professional tools such as HS-Art DIAMANT, After Effects, Topaz Labs, and modern AI-assisted processes. Our work covers classic film damage such as scratches, dust, and flicker, as well as more complex issues in newly shot film, including X-ray artefacts and chemical reactions.
Alongside our digital work, we have a strong understanding of analogue film. Our experience with 16mm and 35mm material, film preparation, repair, and scanning processes shapes the way we approach restoration: digitally precise, while always respecting the analogue source material.
We first met at Cinegrell Postfactory GmbH in Berlin, where we worked together from 2017 to 2025 on the restoration and retouching of films for archives, filmmakers, institutions, and post-production partners.
During this time, we contributed to well over 200 film projects. We planned, coordinated, and carried out restorations, supervised digital workflows, and worked on projects for renowned clients including the DEFA Foundation, DFF – Deutsches Filminstitut & Filmmuseum, the German Federal Archives, RBB, and Arsenal – Institute for Film and Video Art.
Over the years, we have built a strong network of archives, filmmakers, post-production partners, and freelance specialists. With our own high-end equipment for 2K to 6K workflows, we can handle projects flexibly, reliably, and professionally.
Our Team
Nostra Frame grew out of our collaboration at Cinegrell Postfactory, where we have worked together since 2018. Over the years, we have developed a workflow that allows us to divide projects flexibly or work on them seamlessly together. For our clients, this means consistent quality, reliable results, and a high level of planning security — even on complex projects or tight schedules.
Meike Körner
My professional background combines experience in film production, post-production, motion design, VFX, and digital film restoration.
I began my career at FAB – Fernsehen aus Berlin, where I gained practical insight into graphics, camera work, animation, and production workflows. I then went on to study Motion Design at BTK Berlin.
As a VFX artist, I worked on film and television productions, including projects for UFA, Disney, and Constantin Film. At Cinegrell Postfactory, I later headed the retouching department for several years and supervised numerous restoration projects. During this time, my focus shifted toward the digital processing of historical and contemporary film material, with a particular emphasis on retouching, damage repair, and restoration workflows.
Hannah Rosenberg
I have been working in the film and post-production industry since 1997. After training as a media designer for image and sound, I worked for many years as an assistant editor on feature film and television productions, including projects in Europe, Hollywood, and Toronto. At the same time, I gained extensive hands-on experience with analogue film material — from film preparation and cleaning to 16mm and 35mm scanning.
As the industry evolved, my focus increasingly shifted toward digital film retouching and restoration.
Through my many years of work on restoration projects, combined with my experience in post-production and analogue film technology, I bring together technical understanding, craftsmanship, and a trained eye for the specific qualities of both historical and contemporary films.