Every project we take on benefits from our end-to-end post-production expertise across three core disciplines.
Our editors are storytellers first. Working from offline assemblies to final picture lock, we shape the pacing, emotional rhythm, and narrative architecture of every project.
Inside our calibrated theatrical grading suite powered by DaVinci Resolve, we transform flat LOG camera rushes into expressive cinematic imagery with bold or delicate grades.
We oversee the full Digital Intermediate process from camera original conform through ACES color management to final deliverables — DCI DCP, IMF packages, and LTO-9 archival.
Drag the slider to compare the flat LOG camera profile directly against our final polished, color-graded theatrical master.
Our studio operates on an industry-standard, fully calibrated color workflow. Expand any step to learn more.
Camera originals relinked to offline EDL
We receive offline edits (XML, AAF, or EDL) and relink them to the original camera negative files. We rebuild dynamic transitions, reframes, and speed changes to ensure a pixel-perfect layout match before grading starts.
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Theatrical grading suite — DaVinci Resolve
Collaborating in our theatrical grading suite, we perform exposure balancing, contrast sculpturing, local region isolating, and customized LUT crafting using high-end calibrated reference monitors.
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ACES pipeline — full DI finishing
We process visual effect adjustments, title layouts, credits conforming, and master color conversions. All color translations governed by ACES for absolute color reproduction safety across all platforms.
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Technical QC checks & multi-format delivery
We execute strict technical scans for broadcast/streaming legality, audio loudness thresholds, and subtitle sync. We package deliverables for theatrical DCP projection, IMF packages for major streaming distributors, and LTO-9 archival tapes.
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