Our state of the art Baselight and Davinci grading theatres provide a fantastic platform for the creative process, all coupled with the colour confidence of our Truelight and THX cineSpace color calibration systems. 

Our Avid and FCP suites, in concert with our Nuke and Aftereffects seats, allow us to conform, effect and finish to the highest standard.

Sound editing, recording and mixing up to theatrical film specification can be accomplished on our Protools HD 5.1 ICON suite.

We run 2 grading theatres fitted with high gamut digital projectors. The suites also have access to Sony Grade 1 CRT monitors and highend LCD panels to allow total confidence in color for theatrical and broadcast release.

Theatre 1 runs our Baselight GPU accelerated system, used for both Grading and screenings.

Theatre 2 runs our Davinci hardware accelerated system and also provides a great space for reviews and online work

Our Avid FCP and Adobe hardware based systems are able to provide a full range of conform, online and finishing services across all editing platforms.

Our Aftereffects and Nuke seats cater for a range of VFX, from simple low cost paintouts to more involved composites in 2.5D space. We have various 3D partners who can accomplish extensive modeling and CGI as required.

From film and the very latest digital cinema cameras, to video tape and solid state, our workflows and systems allow us to work with anything and everything; from 4k scans all the way to SD archive, all in both 2D and 3D as required.

We can extend film scanning services on both Northlight and Spirit scanning systems along with restoration and repair using PFClean hardware accelerated tools for dustbusting or correction.

Our 5.1 Protools HD and Icon mixing desk is used for audio cutting and mixing. The suite is also furnished with a double width Osmono sound recording booth for V/O and ADR. Where required final Dolby mixing, certification and Foley can be carried out in our large partner sound stages. Our 1000 foot stage and access to sound stages on the Ealing lot allow for larger scale and crowd recordings.

Tape Out

We are equipped to lay back and master to all current professional formats including HDCAM SR, Digibeta, HDCAM and DVCPro HD.

File Out

All variety and flavors of files can be generated from our finishing platforms and Episode Engine encoding system. We support almost every format, from 4k DPX files for digital cinema, to high compression FLV’s for the web and everything in between.

Digital Cinema

We can produce 2D and 3D DCP’s for screenings, festivals and limited run releases as well as providing DCDM and DSM mastering for delivery packages and distributors who prefer to manufacture their own domestic and international DCP’s. 

Film Printing – Arri Laser

We are able to offer conventional film-out mastering to print, as well as the lower cost “Pos printing” for one off festival copies or short films where a DI neg is not required. This is provided through our film-out calibrated partner facility.

Our film pipeline can be calibrated for any combination of DI and print stocks using the industry standard Truelight color management system in concert with Dolby’s cineSpace system. 

We have 6 smaller Avid/FCP based cutting rooms available, which are connected to a 60TB SAN for collaborative cutting, conforming and graphics work. Each is furnished with Avid, FCP and Adobe Production Premium (including After Effects). The suites are capable as both offline and online systems.

We are also able to provide remote review and approval facilities through our cineSync service. This system provides a conference call style session allowing those involved to watch, draw and make shared notes on video and audio as a group, in real-time, no matter what the country or time zone