The finish thatfeels like film.
Post-production is edit, colour, sound and finishing, and we take it on for health and life-science film and beyond. Send footage you already have, from any crew, and it comes back finished to a U.S. production standard.
Five passes, one room.
Edit
Story first. The cut that makes a point land.
Assembly to final cut, with the argument of the film built before the polish. Interview-led or fast-turn, whichever the material asks for.
Colour
A deliberate grade. Skin that reads true.
Grading in a calibrated room. Consistent skin tones across cameras and days, a look that survives compression, and a LUT you can reuse.
Sound
Dialogue that stays clear on a phone speaker.
Dialogue edit, noise repair, music selection or score, voice-over direction, and a mix that stays intelligible on a laptop speaker.
Motion
Titles and mechanism overlays built to your brand.
Titles, lower thirds, data panels and mechanism overlays drawn for your brand, on this film. Cleanup and tracking when a frame needs it.
Versioning
Every market, cut from the same master.
Cutdowns, aspect ratios, subtitles and language versions from a single master, so a film made once can be localised for every market that needs it.
Brand, documentary, music, commercial.
All of it crosses one bench, to one standard.
Shown for the craft. Always anonymised.
Post-only is a normal way to start.
Plenty of films arrive half-made: a shoot that ran long, an archive nobody has cut, congress footage that needs to be posted before the session ends. Send the rushes from wherever they live and we will take it from there, on our own or alongside your in-house team. No shoot required, and no obligation to bring us the next production either.
Questions we get about post.
Yes, and often. Bring footage shot by anyone, including your own team or a previous production partner, and we will edit, grade, mix and finish it. The first move is looking at the rushes and agreeing what the film has to do. Scope and a fixed quote follow a short intro call.
Masters in ProRes or H.264, plus every version you need: 16:9, 9:16 and 1:1 cutdowns, congress and LED specs, web-optimised files and caption files your platforms can read. A single cut usually takes days. A full set of versions takes a couple of weeks, and congress edits can be turned around the same day on the ground. Every schedule is built against your real deadline.
Yes. Send a LUT, a reference film or your brand guidelines and we build the grade to match, then hold it consistent across every cut and every language version. If there is no reference yet, the look gets set once and documented, so your next film does not start from zero.
Yes. We localise from one master: native-language voice or on-screen subtitles, burnt in or delivered as subtitle files in the formats your platforms need. On-screen text is rebuilt per language so it still fits the frame, and regulatory or fair-balance text swaps per market. Multi-country versioning is a normal part of the job.