The speed and technical precision of a major lab, without the bureaucracy.
Starting with a deep knowledge and understanding of all video formats. The files sent to me are converted in any requested format, creating a ready to broadcast master that will have been checked and corrected to comply with the various broadcasters standards:
| Standard | PAL, SECAM, NTSC |
| Framerate | 23.98, 24, 25, 29.97, 30, 48, 50, 60 FPS |
| Resolution | SD, HD, 2K, 4K, 8K... |
| Interlacing | Top, bottom, progressive |
| Aspect Ratios | 1.33, 1.66, 1.77, 1.85, 2.39... |
| Codec | ProRes 422HQ, DNxHR, XDCAM, H.264, H.265... |
| DCP creation |
| Audio normalization |
| AS-11 UK/Intl |
| PAD |
| EBU R128 Loudness normalization |
| Harding FPA (PSE) Certification |
| Netflix IMF Delivery |
Uploading directly to the brodcaster and/or the storage of your choice (including physical), PAD files are transfered via the connection of your choice.
Are also involved...
Metadata management
Subtitles and forced subtitles management
Delivering any type of subtitle file separated from the video or burned into it.
Multilingual videos and audio synchronization
Delivering audio to the broadcaster's standard, separated from the video or merged into the video file, in the required channels.
HD blow up
HDcam and BETAcam digitization
When done correctly, transcoding is also a way to gain space (therefore transfer speed) without any visible quality loss.
No images without post-prodution nowadays.
Image oriented, our experience allows us to respond with limited budgets to the specific constraints of documentary films.
Any request can be met, from color grading shorts, to commercials to feature films with adapted deadlines and rates.
Same job...
Color correction
To bring the production in line with the broadcaster's color space. Overcome defects that occurred during filming with cameras that are not always adapted to a broadcast image quality level.
Shot matching
Bring all shots to that same level.
Stylization
Make colorimetric changes to best meet the requirements of directors and directors of photography and most importantly the story.
Using the industry-standard ACES framework, I guarantee consistent, future-proof color management across all cameras and screens.
...but different
Of course costs of production and work speed while shooting amount to mistakes or simply their was just no time to do it perfectly. And color correction can, to a certain extent, remedy this.
Shot matching : of course different locations, different time of days, a cloud that moves, bad cofee... Every shot will be different in a measure or another and for an infinity of reasons.
At last stylization. Well this is the most human part, and it has to go through dialogue between me and the production crew. So no need to explain here why this is litterally a different job with every production.
Being cinematographer at first, I wasn't satisfied with what they did to my images.
So I started learning. I'm still learning. But people trusted me more and more whith their movies, big or small, and it's still a joy to manage to reveal the full potential a camera has to offer.
