Colour problems rarely show up where they are created. A CG asset lit in the wrong colour space can look perfect on an artist’s monitor and fall apart in the grade weeks later.
One colour space, end to end
We ingest plates, render CG and composite in a single scene-linear working space, and view everything through the same output transform the DI will use. When a shot leaves us, the colourist receives exactly what our artists saw.
What we ask for at turnover
- Camera raw or log plates with the correct input transform documented.
- Your show LUT or CDLs, plus a few graded reference frames.
- The delivery specification from the studio or streamer.
Why it saves time
When everyone agrees on colour, notes are about the picture rather than the pipeline. Artists stop chasing mismatches and spend their time on the work that will actually be seen.
