What We Do
The elevator pitch – we provide color correction, mastering, and finishing services for any type of video project including high dynamic range projects.
We take broadcast, doc & narrative features, corporate, policy, advocacy, and whatever type of genre you can think of and unify the look, feel, and flow of those projects when it comes to color, contrast, and texture.
We do this by utilizing state-of-the-art tools, workflows and decades of experience in the suite, and insight into where & how content is shown.
We do our jobs when we put a smile on your and your audiences’ face and when after watching a project you know it ‘feels right’.
Our obsession is to make the look and feel of every project right, not to nickel and dime you over line items in a bid.
We don’t just do, we also help -relating to your project, helping you navigate technical choices and providing well-thought-out workflows for your next project.
- Be artists, not just operators
- Employ cutting-edge technology
- Crush problems
- Go the extra mile
- Happy clients
Perfecting the look and quality of every shot, in every project, is at the core of what we do.
From ‘color correction’ to ‘color enhancement’ we never lose sight of the story and the visual flow of shots.
Our artists have over 60 years of collective experience perfecting footage for all types of projects. From balance and flow to heavy texture and looks, we have the expertise and taste to realize your creative vision.
We utilize the latest color science, and color management systems to handle any flavor of raw or log.
In addition, everything we do in our suites is real-time, no waiting, no wondering what it might look like – make a change and see it. HD, 4k , DCI, HDR, IMF, DCP? No problem, we speak your language and can make any deliverable happen.
Sick and tired of jumping from suite to suite for different tasks? We can make nearly everything happen in one room – from grading, titling, essential VFX, audio remarry, and final deliverables.
HDR Grading & Packaging
High Dynamic Range (HDR) video is here and accessible for any production right now!
For years, productions have shot with cameras capable of amazing dynamic range. For as little as $1000.00 it’s possible to shoot with a camera capable of 12,13,14, even 15 stops of dynamic range or more!
While acquisition dynamic range is important, in postproduction we’ve been forcing that wide dynamic range (and color gamut) down a very small pipe of 6-8 stops known as SDR or Standard Dynamic Range Video (SDR).
HDR video is a game-changer for any type of production and any subject.
When clients hear HDR video, they often think ‘oh you mean brighter video right?’ Yes, peak luminance is a part of HDR, but it’s not the only component. HDR video also allows for wider color gamuts (think a larger box of crayons), high resolution, and higher frame rates.
There is a ton of new terms and new workflows involved in HDR video and deciphering what’s what can be confusing – especially when it comes to how it can benefit your project. But don’t worry, we’re experts in the field.
We’re a Dolby Vision certified facility and one of the first outside of New York City on the east coast. In addition to our color grading work for HDR projects, we’re also passionate about spreading the word about HDR – DC Color principals Robbie Carman & Joey D’Anna were trusted by Dolby in a recent series on Dolby Vision Mastering.
In addition to Dolby Vision packaging, we can help with HLG & HDR10 projects, SDR > HDR conversion, and HDR workflow consulting.
Any questions about HDR workflow just get in touch.
More On HDR Finishing
- We provide HDR finishing up to 3000 Nits with our FSI XM310k & XM311k HDR mastering monitors
- Client monitoring with FSI XM OLED Displays (Up to 800 nits)
- SDR > HDR conversion with AJA FS-HDR
- Certified Dolby Vision Facility (full support of Dolby eCMU and iCMU trims)
There is nothing like working with filmmakers and creative teams in person, at our facility – but we realize that’s not always possible.
If you can’t make to our studio, we can come to you – well virtually anyway!
We utilize the latest in online review and approval systems like Frame.io, however, there is nothing that can replace real-time communication and making creative decisions while you try different ideas.
Our remote grading infrastructure allows us to stream in as close to real-time as possible high-quality and color-accurate 10-bit SDR/HDR with up to 5.1 audio.
We can stream the output of our color correction system to your location with a minimal amount of delay. All you need on your end is a computer, tablet or mobile device with a web browser or a more recent smart TV, and a good internet connection.
We can even stream back to your facility conference room, edit suite(s), or any where else you might have a calibrated display.
No display or device you can trust for color accuracy?
We maintain a small fleet of Apple iPad Pros which with their reference mode are extremly accurate devices. We can send you one preconfigured so you can connect quickly to our streams or watch a video we posted for you – we even include packaging and return labels.
The cool part about a remote grading session is that you can see the output of our grading systems just like you would in the suite – when we make something a little brighter, a little darker, or more saturated you’ll be able to see that work as it’s happening and provide your feedback via video or audio chat.
Anything else I need to know?
We’ve found the most recent generation of Apple iPad Pro and Mac Book Pro screens to be incredibly accurate when using their reference modes but there are still some general guidelines you can follow to have your screen no matter what it is – closer to the reference monitoring we use in the studio.
- Viewing conditions are important. View in a room with controlled lighting were weather, time of day changes or other lighting conditions won’t effect the overall brightness and color temperature of the room.
- There is a good chance your screen is much brighter then reference monitor SDR standards of 100nits. We find setting a display to about 50-60% a good approximiation.
- Disable any true tone, auto brightness or similar controls.
- If your display has a reference mode for BT 709 or BT 1886 use it
- If your TV has a Cinema or Film Maker mode those are likely to be the most accurate
In any remote workflow, we can help get your monitoring as accurate as possible.
Get in touch to see how we can help color your next projectFree Project Quote