New Service — Theatrical Color Grading
Grade it. Master it. Screen it.
Professional color grading and DCP mastering, finally under one roof. Work with senior colorists to realize the look of your film — then we master it straight to a DCI-compliant DCP in the same pipeline, with a frame-level QC report on every delivery.
The Grade
Color in service of the story
From correction to full look development, we never lose sight of the story and the visual flow of your shots. Our colorists balance every scene for the big screen — where shadows that looked fine on a laptop can vanish under a projector lamp, and skin tones behave differently at 14 foot-lamberts.
We use a fully color-managed pipeline and can handle any flavor of camera raw or log — ARRI, RED, Sony, Blackmagic, and beyond. Whether your film needs a clean, honest balance or a heavy, textured look, we have the expertise to get it there.
Why It Matters
Grade where you master
Most filmmakers grade at one facility and master their DCP at another. Every handoff is a chance for something to drift — a color space conversion done wrong, a gamma shift, a grade that looked perfect in the suite and wrong in the theater. We close that gap.
One pipeline, no handoffs
Your grade moves directly into DCP mastering. The Rec.709-to-XYZ conversion, gamma handling, and encode all happen in the same color-managed chain that produced the look.
Graded for the theater, not the monitor
Your theatrical grade is finished for DCI-P3 projection — so what you approved is what your audience sees at the festival.
One QC chain, frame by frame
Every graded DCP ships with our full frame-level QC report, reviewed by a real person — playback, audio routing, and DCI compliance checked before it ever reaches a projection booth.
Every deliverable, one order
Beyond the DCP: video masters for streaming and screeners, ProRes deliverables, and archival masters — all rendered from the same approved grade.
The Process
From locked cut to the big screen
Consultation & look brief
We talk through your film, references, and the look you're after — then walk you through exactly what to send us (locked cut, XML/AAF conform or flattened master, and camera originals if available).
The grade
Our colorists build your look scene by scene: primary balance, secondary shaping, and look development. You review remotely and give notes — revisions are part of the process, not an upsell surprise.
Theatrical trim pass
The approved grade is finished for DCI-P3 projection, with shadow detail, highlights, and skin tones tuned for how the film will actually read in a theater.
DCP mastering
We master your graded film to a DCI-compliant 2K or 4K DCP — encryption and KDM management available — in the same pipeline that produced the grade.
Frame-level QC & delivery
A real person reviews the finished DCP frame by frame and issues your full QC report. Then we deliver — secure digital transfer or physical drive, on your festival's timeline.
Questions
Color grading FAQ
My film is already graded. Do I still need this?
Maybe not a full grade — but a theatrical trim pass is often worth it. A grade finished on a Rec.709 monitor can shift noticeably under projection. We can review your existing grade and recommend a trim pass only if your film actually needs one.
Can I attend the grading sessions?
Yes — review sessions are held remotely, so you can give notes from anywhere. You'll see the work, respond to it, and approve the final look before anything is mastered.
What do you need from me to start?
A locked cut is the big one. From there, ideally an XML/AAF conform with your camera originals for the highest quality — but we can also grade from a high-quality flattened master (ProRes 422 HQ or better) if that's what you have. We'll walk you through it during the consultation.
How long does it take?
It depends on runtime and the depth of the grade — a short with a clean balance moves much faster than a feature with heavy look development. We'll give you a firm timeline with your quote, and we're used to working backwards from festival deadlines.
How much does it cost?
Every film is different, so grading is quoted per project based on runtime, source format, and the scope of the look. Send us your details and you'll have a custom quote back fast — usually the same day.
Ready When You Are
Your film deserves to look like a film
Tell us about your project — runtime, format, and the look you're chasing — and we'll send back a custom quote.
Get Your Quote Now