Services
The Full Squeeze.
From look development to delivery. Book one or the whole run.
01 / 05
Look Development
We build your film’s look before the shoot, so what the DP approves on set is what ends up on screen.
How it works
- BriefSend the treatment, references, and camera package.
- TestsWe grade your camera and exposure tests.
- Show LUTA look with real film contrast, loaded into the camera and the monitors on set.
- Dailies and editDailies carry the same look, so the editor cuts with a near-final image.
- Final gradeFaster, with time left for new choices once you see the cut.
What you get
- A show LUT built for your camera package
- CDLs and on-set monitoring LUTs
- A one-page pipeline doc
- Camera and exposure tests, graded
Tech specs
- Formats
- .cube LUTs, CDLs, ACES AMF on request
- Cameras
- Camera agnostic: ARRI, RED, Sony, Canon, Blackmagic, and more
- Timing
- Usually a couple of hours. A half or full day for bigger looks. More lead time, more room to explore.
Common questions
Why not use the camera’s own Rec.709?
Camera makers build their Rec.709 to be safe, so it comes out flat, without the way film handles contrast. If the DP lights to that flat image, the lighting ratios won’t hold up once the film look goes on later. A show LUT puts the intended contrast on the monitors, so the DP lights for the final image from day one.
Is it worth it on a short shoot?
If you shoot log and care how it looks on set, yes. A couple of hours usually gets you going.
Can you match a reference film?
Yes. Send stills or a clip and we build toward it for your camera.
Will the LUT work on our monitors?
We export for whatever is on the cart. Tell us the monitors and tools.
02 / 05
Dailies
Synced, color-managed dailies in 12 to 24 hours, carrying the real look instead of flat log.
How it works
- SetupWe load your show LUT and check camera metadata before day one.
- Ingest and syncCards in, sound synced, metadata checked.
- ColorEach day graded to the look, with burn-ins.
- DeliverEditorial media, review links, and a backup.
What you get
- Sound sync and a full metadata pass
- Color with timecode burn-ins
- Safe archive and cloud delivery
- Review links for production and editorial
Tech specs
- Turnaround
- 12 to 24 hours, often same day on short days
- Setup
- On-set, near-set, or remote
- Security
- Secure, password-protected portals
- Outputs
- ProRes Proxy or LT, DNxHD 36 for Avid, or 10-bit H.265
Common questions
Can you do dailies remotely?
Yes. Cards upload to a secure portal and come back graded, wherever the shoot is.
What do editors get?
Whatever your editor prefers: ProRes Proxy or LT, DNxHD 36 for Avid, or 10-bit H.265, all with matching metadata.
Does the look carry to the final grade?
Yes. The same LUT and CDLs feed the final session.
03 / 05
Color Grading & Beauty
The final grade. We shape how every scene feels and make every shot belong to the same film, with texture and beauty work in the same session.
How it works
- PrepConform check and a look plan from your references.
- First passThe full grade across the whole cut: balance, look, texture, and beauty.
- ReviewLive session or review link, wherever you are.
- FinalLast notes, final checks, sign-off.
What you get
- Full grade: balance, look, shot-to-shot flow
- Film emulation and texture
- Skin, makeup, and product finish for beauty, fashion, and luxury brands
- Live remote sessions
Tech specs
- Software
- DaVinci Resolve Studio
- Working space
- ACES, JPLog2 / JPCINE3, or custom and film workflows
- Monitoring
- Calibrated reference monitoring
- Revisions
- Three rounds included
Common questions
How many rounds of notes?
Three rounds are included. Need more? We quote extra rounds before we start.
Can I watch the session?
Yes, live on Louper, streamed straight from the grade. In person can be arranged for select projects.
Can you do beauty work in the grade?
Yes. Beauty is part of the first pass: skin, makeup, and product finish, held to what beauty and luxury brands expect. Bigger fixes, like screen or sky replacement, we scope in the quote.
Which working space do you grade in?
Whatever the project needs: ACES, custom, or film workflows. Our favorite is JPLog2 / JPCINE3, built by color scientist Josh Pines as a step on from ACES. It holds more room above and below middle gray than any other working space, so a camera like the ARRI Alexa 35 keeps its full range.
Do you grade stills?
Yes. Campaign stills get color and retouching matched to the film grade, so the photos and the spot feel like one campaign.
04 / 05
Finishing & Mastering
Conform, QC, versions, and masters built to the spec of wherever your film plays.
How it works
- Spec checkSend the deliverables list. We flag anything unclear up front.
- ConformWe online the cut back to camera originals.
- VersionsCutdowns, aspect ratios, titles, and captions.
- QC and deliverQC report, masters, and a 40-day media archive.
What you get
- Online conform and confidence check
- SDR and HDR masters
- Versions and cutdowns
- QC report and archive
Tech specs
- HDR
- HDR10, HDR10+, Dolby Vision
- SDR
- Rec.709 gamma 2.4
- Cinema
- DCP, DCI-P3
- Streaming
- IMF, Netflix P3-D65
- Files
- ProRes, DPX, EXR, H.265, or any finishing codec, packaged to spec
- Archive
- Media 40 days, project files 12 months
Common questions
Can you deliver Dolby Vision?
Yes. Dolby Vision masters built to the platform’s spec.
Do you handle streamer specs?
IMF and P3-D65 masters to the platform’s spec sheet.
Can you make the social versions?
9:16, 4:5, and 1:1 from the same master, so color matches everywhere.
05 / 05
Full Post
We run post start to finish with our editorial, sound, and VFX partners, on one schedule and one invoice. Sound and music by Emmy-nominated composer Gregory Ives, an MPSE member and Avid-certified Dolby Atmos mixer.
How it works
- PlanOne schedule and budget for the whole run.
- EditAn editor from our bench, or yours.
- Picture and soundColor, finishing, mix, and VFX run in parallel.
- DeliverOne set of masters, one invoice.
What you get
- Editorial
- Color and finishing
- Audio post: dialogue edit, sound design, effects, score, and final mix in stereo, 5.1, or Dolby Atmos
- VFX coordination
- One schedule, one invoice
Common questions
Can I bring my own editor?
Yes. We slot in around your team.
Who do I deal with?
One lead for the whole job, from first call to final master.
Is full post only for long form?
No. Music videos and branded pieces too.
Can you deliver a Dolby Atmos mix?
Yes. Audio is mixed in stereo, 5.1, or Dolby Atmos to match your deliverables list, plus Apple Spatial Audio and binaural mixes for headphones.
Also in the suite
AI video finishing.
Generated footage gets the same grade, cleanup, and mastering as camera footage, finished like film.
See AI video finishing →Color’s Ready When You Are.
Not sure which service fits? We’ll tell you, with a flat quote.
or email adam@orangejuice.film