Colorist Services

New York's colorist community sits where two demanding markets meet. One is prestige episodic and feature work for HBO, Apple TV+, Netflix, Disney+, Amazon, and Paramount+. The other is the Madison Avenue commercial scene that finishes Cannes Lions and Emmy-grade campaigns out of one zip code. Our roster reflects names working at that level: Tom Poole and Tim Stipan at Firm 3, Joe Gawler and Sofie Borup-tier work through Harbor and Picture Shop, Walter Volpatto on theatrical features, Phil Choe at Different by Design, and Anthony Raffaele on prestige series.

We route work through suites that carry deep pipelines. These include Picture Shop in Manhattan and Brooklyn (Mrs. Maisel, Master of the Air), PostWorks NY with two Emmy sound awards on the wall, Harbor, The Post Crew, Nice Shoes, and String & Can with its London branch. Each runs DaVinci Fix and Baselight pipelines, Dolby Vision and HDR10+ mastering, and Dolby Atmos integration. They also carry the cloud-review tooling — Streambox, ClearView Flex, and Sohonet ClearView — that real-time client sessions with LA, London, and Atlanta showrunners need. NYC colorists are fluent in the gritty-amber and cool-winter palette the city's independent tradition built, the polished commercial look agencies expect, and the wide-gamut prestige look streamers buy.

We match each colorist to the brief by genre, intended palette, delivery spec, and timeline. The brief might be a Netflix Dolby Vision feature, a HBO prestige series with an HDR10 trim pass, a Cannes-tier spot for an agency on Madison Avenue, or a documentary that needs Rec.709 SDR and HDR deliverables. From there, our team books the suite and sets up the DI conform with the edit in Avid Media Composer or Adobe Premiere. We run the color review sessions in EST, with European overlap in the morning and West Coast overlap in the evening. We then deliver the IMF, DCP, ProRes 4444 XQ, Apple ProRes for IMF, and broadcast masters against US network and streaming QC.

We keep New York State Film Tax Credit compliance on track through logged colorist labor, facility rentals, and OK'd vendor invoicing. The credit runs up to 30%, and its post-prod qualified-spend tier covers finishing labor and suite time. We also keep Local 700 ACE East edit, VFX vendors, sound mix at Sync Sound or Audio One, and music oversight aligned. That way the master frame the colorist locks reads the same on every screen, from Lincoln Square to Beverly Hills to BAFTA.