Color & Visual Finishing

The visual look of Italian film — the warm ochres of Tuscan hilltowns, the deep blues of the Mediterranean, the silver-grey light of Milan in winter — needs a colorist who knows how those tones were caught on location and how to bring them out in the grade. Our color and final look service runs from calibrated suites that take any source format. You get the technical care of a first color pass plus the full creative room of a dedicated look development pass.

Color fixes set exposure, white balance, and a steady match across shots and scenes, which builds the clean base that creative work rests on. In grading, our colorists apply the film look your DP and director planned — a warm, textured treatment for a period drama in Rome's Centro Storico, or a clean, neutral grade for a corporate shoot in Bologna. Look Development sessions come early in post, so your team can preview and sign off on the visual direction before the full grade starts. Online Conform and QC then makes sure the finished programme meets all technical delivery specs.

We grade in calibrated suites across our partner network in Rome, Milan, and Turin. Each bay runs DaVinci Resolve Studio or Baselight on reference monitors. We set the working space to match your target: Rec.709 for broadcast, DCI-P3 for theatrical release, Rec.2020 for HDR. Our colorists tune each room before your session begins. So the look you approve on the panel holds true on the final master. The suite never drifts from the agreed reference.

We build every master through an ACES-managed pipeline that holds color true. Source RAW from ARRI, RED, or Sony ingests at native quality with full metadata. We grade once and trim for each delivery format from that single timeline. HDR passes cover Dolby Vision, HDR10, and HLG, with an SDR trim for catch-up. Each render matches the right color space, gamma, and bit depth. So your look stays consistent from cinema screen to mobile phone.

Italian networks and global streamers each set their own finishing rules. We deliver IMF packages for international distribution and DCP masters for theatrical runs. Our QC pass checks luminance, gamut, and color space against each platform's spec. We build trim versions for broadcast, streaming, and cinema from one graded master. So a single finishing job feeds many release routes without a regrade. Each deliverable clears technical review before it leaves our hands.

Our colorists hold feature film and premium TV credits across the European market. We pair each project with an artist whose style fits your genre and tone. Remote review tools let your director sit in from any city while we grade. The session stays color-true through calibrated streaming, so notes land on an accurate image. You see each change live and sign off in real time. So the approved look needs no second guess after the session.