color
Color is an important player in the film. It can be used to build an atmosphere, highlight characters, direct the viewer's eyes, hint at the future and more.
In order to achieve a perfect color result, to realize your creative vision and to give the project the desired look - we spread, as is customary in the world, the color work throughout the entire production - starting from the creative planning stage, on the photo set, and after the end of the photos at the post house, we gathered the colorists , the artists, the most talented. We equipped our post house with the Ferrari of the color systems, it is Baselight from Filmlight. And we even treated ourselves to a DCI projector and Dolby Vision HDR.
Lock development
A preliminary session to design the color concept and formulate the look, which includes:
- Advice on choosing cameras, lenses and formats.
- Tests in the field.
- Forming the ShowLUT.
Dailies and Editorial Proxies
- Separate sound synchronization (if available) for the camera.
- Adding and managing metadata as needed, including color management information (ShowLUT+CDL)
- Producing proxy files for editing.
- Inserting the materials into the AVID project and arranging according to the editor's instructions (including synchronization between cameras).
- Grade FIRST LIGHT by Colorist Dailies.
All that remains is to roll out a red carpet and parade your editor on it.
DIT Information Management and Color
Our expert who comes to the photo set with fast and advanced equipment and works closely with the photographer:
- Unloading is secured during the photo shoot day.
- HG backup after the photo shoot day.
- Verifying the integrity of raw materials by playing samples.
- HG summary report for each shooting day.
- Live Grading based on CDL.
No more camera cards that disappear and raise your blood pressure.. No more loss of materials due to various technical malfunctions..
No more delays on the way to editing.. and no more block gaps between the photographed material and the final result..
