Working with us
How early should we bring you in?
As early as pre-production. A short breakdown session before the shoot usually saves more money than any decision made in post.
Do you take on small projects?
Yes. We handle single-shot fixes and short commercial jobs alongside feature work, with the same senior artists on each.
Can you work with our in-house team?
Absolutely. We share assets, match your naming and colour pipeline, and join your review sessions as if we were down the hall.
Budgets & bidding
How do you price a project?
We bid shot by shot from your script or cut, so you see exactly where the budget goes. Fixed bids are available once the edit is locked.
What do you need from us to prepare a bid?
A script, storyboard or rough cut is enough to start. Plate lists, reference and a target delivery date help us tighten the numbers.
What happens if the edit changes after we start?
Changes are tracked shot by shot. We flag cost or schedule impact before work continues, so nothing is billed without your sign-off.
Pipeline & reviews
How do reviews work?
You get secure, frame-accurate review links with notes tools, plus weekly live dailies with the supervisor on your show.
Which colour pipeline do you use?
We work in ACES by default and can match any show LUT or colour pipeline your DI facility specifies.
Do you supervise on set?
Yes. A supervisor can join the shoot to capture HDRIs, lidar, witness cameras and reference, and to advise on shooting for VFX.
Delivery & security
What formats do you deliver?
Typically EXR sequences in ACES, plus QuickTime review files. We conform to your studio or streamer delivery specification.
How do you keep unreleased material secure?
Projects run on isolated storage with per-show access control, and review links are watermarked and expire automatically.
Still have a question?
Send it over with your script or cut and a supervisor will answer directly.