Color Grading

Grading is where the emotional voice of an Italian production is finally set. The country's finishing infrastructure is built around exactly that craft.

Here is how this works in practice. Working in the Dolby Vision-certified rooms at Cinecittà DI and Lumiq Studios, alongside the Baselight and DaVinci Resolve Studio bays at EM srl Roma, Post Atomic, Proxima, and Mercurio Cinematografica in Milan, our colorists shape contrast, palette, and skin tone to match the director's intent — whether that means the sun-bleached ochres of a Tuscan period drama, the cool architectural greys of a Milan-set thriller, the saturated coastal blues of a Cinque Terre travel series, or the deep Mediterranean shadows of a Naples-shot crime feature. Reference passes are developed on hero scenes first, signed off with the DP and director, then propagated across the timeline so the visual language stays consistent from first frame to last.

Here is the short of it. Italy's grading custom draws on AIC colorist alumni and the Centro Sperimentale di Cinematografia finishing track. The colorists we work with carry that lineage of cinematographic discipline forward — many have worked with directly with Italian DPs of the calibre of Luca Bigazzi, Daria D'Antonio, and Pasquale Mari. HDR work is handled natively on calibrated Dolby Vision and HDR-10 PQ trim displays, with SDR Rec.709 passes produced for legacy distribution.

Here is the breakdown. Remote review runs through Frame.io, ClearView Flex, and Streambox pipelines so directors, agencies, and showrunners can sit in on grading sessions from Los Angeles, London, or Milan in real time. Masters destined for UCI, The Space, or Notorious theatrical chains are graded against DCI projection standards; series destined for Rai, Mediaset, Sky Italia, Netflix Italy, or Disney+ are tuned to each sites's encoding profile.