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Mike Solow is a director, editor, writer, colorist, composer and perceptual designer whose love of cinema began at age four with his first theatrical film experience. From that moment, he was captivated not only by film but by the pacing, rhythm, sound and color of the cinematic experience. Story was something he sensed before he analyzed.
As a teenager, Solow produced hundreds of short films with his siblings, cousins, and friends, developing an intuitive understanding of visual timing, tonal movement, and emotional cadence. In high school, he and lifelong creative partner Chris Brian Doyle submitted their first film to TIFF’s Sprockets program, marking the start of a sustained creative partnership rooted in experimentation and shared ambition.
Solow began performing stand-up comedy at age 19 at Yuk Yuks in Hamilton, Ontario, Canada, and has since performed across Austin, Beverly Hills, Chicago, Niagara Falls, and throughout Southern Ontario, often informing his creative work.
Solow experiences synesthesia, a perceptual phenomenon in which sensory pathways intersect. From an early age, this made conventional classroom instruction, particularly English, relatively more challenging, as spoken words registered for him as melodies, colors, and textures rather than language alone. He experiences audio as multi-sensory structure, which shaped his approach to filmmaking, drawing him toward atmosphere, chromatic contrast, dynamic range, and the rhythmic exchange between characters before dialogue itself.
In 2025, Solow founded Frames Per Film, a production and post-production studio where story, direction, cinematography, color science, original score, sound design, and final delivery are all held by the same hand. The studio is built to produce work at the highest fidelity achievable in both picture and sound: textured, filmic, perceptually pristine image mastering with rendered environments that move between realism and surrealism, paired with score and sound design that are perceptual, sonic, and thematic rather than merely functional. The studio operates on NVIDIA accelerated computing infrastructure as a member of the NVIDIA Inception Program, and is an official HDR10+ adopter recognized for both content creation and tool engineering. Frames Per Film sits within that ecosystem as part of a small global network of just 183 adopters (2026) that includes major studios and technology leaders such as Samsung, Warner Bros., Twentieth Century Fox, IMAX, Amazon, Google, NVIDIA, Intel, Panasonic, Blackmagic Design, Rohde & Schwarz, and Deluxe Entertainment Services Group. Through his Chronological Chromatic Spectrography methodology, Solow has created per-frame cinematic color fidelity archives of all 25 Studio Ghibli films, A24's Midsommar Director's Cut, Euphoria, Vince Gilligan's Pluribus for Apple TV+, and Christopher Nolan's Interstellar, among others, extracting up to 26 colors per frame from some of cinema and television's most visually accomplished storytelling. His Interstellar spectrograph differentiates between the film's 35mm and IMAX-shot sequences on a per-frame basis, and maps the chromatic data at a 1:1 ratio reflecting both the viewer's timeline and the film's relativistic time dilation between character arcs. His ongoing research is conducted through Color Over Time (colorovertime.com), Frames Per Film's department of color science, research, and software engineering, where Chris Brian Doyle frequently serves as creative director. FramesPerFilm.com launched alongside the completion of his short film (Eligibility For Existence) in 2026.
Eligibility for Existence is a short film adapted from Solow's philosophical manuscript of the same name, a formal logical framework examining personhood recognition, power asymmetry, and the conditions under which moral accountability is structurally blocked.
Also in 2025, Solow published BOOK: It Starts and it Ends, a conceptual final boss of the choose-your-own-adventure genre, inviting readers to draw from the limitless possibilities of their imagination and to tap into their own creativity.
Solow has said that he approaches directing by reaching for what he calls 'moat feelings': the ones that make you feel untouchable, but also the ones that can isolate you entirely, for better or for worse. He is drawn to what is universally recognizable in human experience yet somehow remains irreducibly unique to each person who carries it.
