Frequently Asked
Questions
From look dev to delivery — here’s the squeeze on how it all works.
General
-
Start with a clean conform — locked picture, flattened picture timeline, and a tidy XML. Duplicate your timeline for color and strip out any text, graphics, or temp grades. Keep it simple: one or two video tracks, native camera log files preferred. Messy conforms eat into your grade. Depending on your editing system, we’ll guide you step-by-step so your project lands in our pipeline ready to go.
-
We work in DaVinci Resolve Studio on calibrated reference monitors, from conform through final output.
-
We grade in scene-referred spaces built for creative control and technical precision. ACES 2.0 and JPLog2 are our go-to flavors — flexible, clean, and bulletproof across pipelines. (See Glossary → Scene-Referred).
-
Shooting in log captures the widest dynamic range your sensor can offer, preserving highlight and shadow detail and giving us maximum latitude in the grade. It’s the best way to future-proof your footage and squeeze every bit of beauty from the image.
-
Commercials, features, tv, docs, brand content, music videos, shorts — if it moves and tells a story, we’re in.
Dailies
-
Sound sync & metadata pass
Color adjustments & timecode burn-in
Safe archival + cloud delivery
We aim to get dailies as close to the final look as practical to avoid “offline eyes.” Real-time spatial effects (grain, lens diffusion, halation) are available so your edit feels cohesive from day one.
-
Typically within 12–24 hours of receiving media — often same-day for compact shooting days. Share your schedule and we’ll keep pace.
-
Yes. We provide secure, TPN-compliant cloud portals and can enable near-real-time review if needed.
-
On-set: We’re next to camera, handing off files immediately.
Near-set: A nearby lab with runner drives or secure shuttle.
Remote: You upload, we process off-site, and deliver digitally.
We’ll recommend the best fit based on location, schedule, and budget.
Finishing
-
Everything: SDR Rec.709, HDR10, HDR10+, Dolby Vision, DCP, ProRes, H.264, DPX, IMF, you name it. Tell us the destination — we’ll hit spec.
-
Yes. Netflix P3-D65, DCI-P3, Dolby Vision XML packages, Sundance DCP specs — we’ve got the checklists and test plans covered.
-
Yes. We store every project securely for 90 days by default, with extended retention options available on request.
Look Development
-
As early as possible. Ideally before cameras roll. We can guide camera tests, craft your show LUT, and design a pipeline that stays consistent through post.
-
Absolutely. We translate the hero look into cube LUTs or CDLs so everyone — camera, DIT, VFX — sees the same image on set.
-
Yes. We’re camera-agnostic — ARRI, RED, Sony, Canon, BMD, you name it. We adapt to each log profile and maximize flexibility in post.
-
We love it. Send us films, photos, paintings, mood boards, or just a feeling. We deconstruct the reference and rebuild a color strategy tailored to your capture format, lighting, and pipeline.
-
A LUT is a fixed mathematical transform; a look is a creative intention. We build looks holistically — contrast curves, color response, texture, grain, mood — and can export a LUT if the workflow demands, but story always leads the math.
DI Color & Beauty
-
Basic Grade: Balance + primary contrast + shot matching.
Full Grade: Mood sculpting, advanced keys, texture work, beauty passes, and meticulous shot-to-shot flow. If you’ve only done basic matching before, get ready.
-
Yes. Our beauty pass includes skin smoothing, blemish removal, tattoo cleanup, screen and sky replacement — all seamlessly integrated into the grade.
-
Yes. Join us in Miami or review via color-accurate live streaming — you’re part of the process wherever you are.
-
We serve the story and the team. We listen closely, keep everyone looped in, and navigate creative tension with care and diplomacy.
Glossary of Terms
New to color workflows or need a refresher? Check out our Glossary.
