Colorist Services

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

Here is the layout. The suites we route work through — 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, String & Can with its London branch — carry DaVinci Fix and Baselight pipelines, Dolby Vision and HDR10+ mastering, Dolby Atmos integration, and the cloud-review tooling Streambox, ClearView Flex, and Sohonet ClearView need for real-time client sessions with LA, London, and Atlanta showrunners. NYC colorists are fluent in the gritty-amber and cool-winter palette the city's independent tradition built, the polished commercial look advertising agencies expect, and the wide-gamut prestige look streamers buy.

Here is how the work shapes up. Project-wise, we match colorist to brief by genre, intended palette, delivery spec, and timeline — a Netflix Dolby Vision feature, a HBO prestige series with HDR10 trim pass, a Cannes-tier spot for an agency on Madison Avenue, or a documentary needing Rec.709 SDR and HDR deliverables — then book the suite, set up the DI conform with edit in Avid Media Composer or Adobe Premiere, run the color review sessions in EST with European overlap in the morning and West Coast overlap in the evening, and deliver the IMF, DCP, ProRes 4444 XQ, Apple ProRes for IMF, and broadcast masters against US network and streaming QC.

Here is how it adds up. We hold New York State Film Tax Credit (up to 30%, with the post-prod qualified-spend tier covering finishing labor and suite time) compliance through logged colorist labor, facility rentals, and OK'd vendor invoicing, and we keep Local 700 ACE East edit, VFX vendors, sound mix at Sync Sound or Audio One, and music oversight aligned so the master frame the colorist locks reads the same on each screen from Lincoln Square to Beverly Hills to BAFTA.