We provide a robust option for managing the data from your shoot. We offer the following services:
We also offer overnight processing if you need your rushes from the day’s shoot ready for the edit the following morning. Our digital lab services are available 24 hours a day 7 days a week.
Whether your project is heading for TV, Cinema Delivery or even the web our accomplished colourist network will help to achieve your creative vision.
Our DaVinci Resolve grading suite is 4K HDR capable. We also offer the latest grade one monitoring in the Sony HX310 4K broadcast monitor that has been calibrated for precise colour rendition covering HDR, P3 (Cinema) and Rec709 (HDTV Broadcast) colour spaces.
We work with a host of editing software including Adobe Premiere, Avid Media Composer and DaVinci Resolve. Our centralised server approach allows for a team of editors to tackle a project together or for a job to be seamlessly moved between different rooms in the facility as needed.
The rooms are well equipped with options of MAC and PC machines with professional audio and video breakouts and monitoring for frame accurate editing confidence. Our range of smaller and larger rooms allows a job to be worked on by an editor alone in smaller room for instance and then move into an approval suite if need be for a larger audience viewing.
We have a team of talented artists who specialise in compositing, titling, motion design, VFX and general cleanups. We are experienced in all VFX pipelines including ACES, making use of DaVinci Resolve as a final mastering tool on feature and episodic projects.
Our skilled artists can assist in tasks such as object removal, chroma-keying, general compositing, credit rolls and further image refinement such as noise reduction and grain management. This final phase of any job is critical to create a polished end product and we pride ourselves in the attention to detail we apply to craft your film or piece of content to perfection before mastering.
We can meet your distribution requirements for D-cinema, broadcast, online or VOD.
We make use of Adstream to deliver commercials to broadcast and in addition we can create all major master deliverables required for the most popular delivery platforms including:
DCP – 2K and 4K Digital Cinema Packages (DCP). We can create Interop or SMPTE DCP masters as well as ensuring your DCP complies to stringent Digital Cinema Initiatives (DCI) standards. This includes converting your film to the X’Y’Z colour space and JPEG 2000 encoding as per the DCI specification.
IMF – Distribute multiple versions of your film to multiple destinations without the need for different masters. This flexibility coupled with support for resolutions up to UHD, and with no limit on the number of audio channels, has meant that IMF has become the required format for VOD distributors such as Netflix and Amazon.
DSM – The Digital Source Master is the full quality digital master of your film. We render your film at the highest quality possible from which other master material can flow. Depending on your shooting format this could be either a Prores file or a 10-bit DPX/ TIFF Sequence.
All of our deliverables go through a comprehensive QC process before leaving our facilities, we make use of robust software and eyeball QC processes to check video and audio quality are error free and adhere to delivery specifications.
We ensure we tailor our QC process to your delivery spec, whether your film is intended for cinema distribution, broadcast, or the web you can be sure that your film meets the technical quality standards required.
Both during a shoot and after your film has been completed we create LTO backups of your media to ensure that it can be safely stored and quickly retrieved at any time. LTO is a safe and reliable way to create a long-term archive of your assets and deliverables.
We offer comprehensive archiving services for your peace of mind. All data is stored on our LTO 7 library and tapes are stored in an offsite fireproof and flood proof vault. We take data security and redundancy very seriously and keep a minimum of 3 copies on separate storage mediums of all master material.