Our grading monitor is calibrated every 2 weeks to ensure all projects are correctly colour-managed.

The colourists I work with are used to dealing with multiple types of Camera RAW at once from different sources.

In DaVinci Resolve Studio, we are able to effortlessly transition from a picture-locked sequence to the conform, grade and delivery all without ever leaving the application which is just one of the countless reasons we love working in Resolve.

Content Mastering is the final stage before Quality Control. We are able to create cinema, broadcast & archival-quality ProRes Masters and Other Mastering / Viewing-File Formats to suit a range of emerging formats/platforms including for social media and mobile devices.

We are used to delivering the same content in multiple formats, codecs, aspect ratios and audio configurations, and can even do rush-delivery of feature-length films in no time at all.

We QC all SDR (standard dynamic-range) and DCI-P3 (cinema) content in-house.

Anything requiring HDR mastering, versioning and QC we can arrange to be worked on with external partners.

For content bound for the cinema screen, we recommend our Full Service QC - performed at one of partner testing sites attended by QC operator. We also pair this with producing a Theatrical Eyeball Report to certify (and take note of) all visual and audio credibility per item of content.