Color Grading

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

Our colorists work in the Dolby Vision-certified rooms at Cinecittà DI and Lumiq Studios. They also grade in the Baselight and DaVinci Resolve Studio bays at EM srl Roma, Post Atomic, Proxima, and Mercurio Cinematografica in Milan. In each room they shape contrast, palette, and skin tone to match the director's intent. That might mean the sun-bleached ochres of a Tuscan period drama, the cool grey stone of a Milan-set thriller, the rich coastal blues of a Cinque Terre travel series, or the deep Mediterranean shadows of a Naples-shot crime feature. Reference passes are built on hero scenes first and signed off with the DP and director. The look is then carried across the timeline, so the visual language stays steady from first frame to last.

Italy's grading tradition draws on AIC colorist alumni and the Centro Sperimentale di Cinematografia finishing track. The colorists we work with carry that lineage of craft forward, and many have worked 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. We also produce SDR Rec.709 passes for legacy release.

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

Before a frame is graded, our team handles the media prep that a clean finish needs. Camera files are ingested, checksummed, and conformed against the editorial timeline, so the grade matches the locked cut shot for shot. Rushes and masters live on access-controlled storage with backups, and unreleased material follows the studio's own handling rules. That care keeps a feature's look secure right up to its theatrical or streaming launch.

Grading sits at the end of the schedule, so the delivery date drives the plan. We match each colorist to the project on confirmed credits and the look it calls for, then book the calibrated suite around the deadline. A Sky Italia air date, a Venice screening, or a theatrical bow each sets its own turnaround. Sessions are staged in review rounds so notes, trim passes, and final masters all land in time for the release.