Color Grading

Here is how the work lines up. Grading is where a New York production finds its emotional register. The city's finishing infrastructure was built around that craft. Our team books grading sessions in the Dolby Vision-certified rooms at Light Iron NY inside Harbor Picture Company in Tribeca, the Baselight bays at PostWorks New York and Technicolor PostWorks NY, the Fix suites at Goldcrest Soho and Company 3 NY, and the smaller boutique rooms at Final Frame, NUX Studios, and Different by Design that serve indie features and DOC NYC submissions.

Here is what we have to work with. Colorists shape contrast, palette, and skin tone to match the director's intent — whether that means the sodium-amber haze of a midnight subway sequence, the cool steel-and-glass minimalism of a Midtown corporate thriller, the warm brownstone interiors of a Brooklyn period piece, or the high-contrast Manhattan rooftop look that has defined a decade of HBO and Apple TV+ originals. Hero scenes are graded first and signed off with the DP and director, then the look is propagated across the timeline so the visual voice stays steady from start to finish.

Here is the layout. The NYC colorist roster. Tom Poole, Tim Stipan, Sam Daley, Damien Vandercruyssen, John Crowley, Sofie Borup, Phil Choe, Joe Gawler, Walter Volpatto, Anthony Raffaele — carries the lineage of East-Coast finishing forward, with many of them having worked with directly with the NY-based DPs who define the city's visual canon: Bradford Young, Andrij Parekh, Adam Newport-Berra, Sean Bobbitt on his NY shoots. HDR work is mastered natively on Dolby Vision PQ trim displays and HDR10+ reference monitors, with SDR Rec.709 passes built for legacy delivery.

Here is how the work shapes up. Remote review runs through Frame.io, ClearView Flex, and Streambox so showrunners in Los Angeles, agency clients in London, or co-producers anywhere can sit in on the session live. Masters destined for AMC Loews, Regal, Alamo Drafthouse Brooklyn, or Lincoln Plaza theatrical runs are graded against DCI projection standards, while series destined for HBO, Netflix, Apple TV+, Disney+, or Amazon Studios are tuned to each platform's encoding profile.