Color Grading

Here is how the work lines up. Grading is where the emotional voice of a Canadian production is set. The country's finishing infrastructure is built precisely for that craft. DNEG Vancouver, Toronto, and Montreal anchor the high-end feature work. Sergio Pasquariello graded Dune Part Two at DNEG Vancouver, Andrea Chlebak (Sicario, Blade Runner 2049) is a frequent Denis Villeneuve regular working out of the Western Canadian rooms, and the same FilmLight Baselight and Daylight pipelines carry Tenet, Avatar, and the Villeneuve cinematic vocabulary forward.

Here is what we have to work with. Pixomondo Toronto's Star Trek: Discovery and Strange New Worlds grades define the saturated alien-biome streaming-series finish, while MELS Post Montreal handles the francophone feature slate and full Quebec finishing through DCP and IMF delivery. Tattersall, Studio Post, Lakeside Pictures, and Mr. X / Wolfe Productions in Toronto round out the cluster on DaVinci Resolve Studio Advanced and Baselight, with Sony BVM-HX310 reference monitors as the calibrated mastering standard. Maxine Gervais in Montreal anchors the Quebec colorist bench.

Here is the layout. We scope the grade against the director's reference deck. Andrea Chlebak's amber/cyan Dune palette, Sicario's tactical night-vision tonality, Villeneuve's Blade Runner 2049 saffron-and-teal vocabulary, Atanarjuat's Inuit-cinema natural-light reference, the warm-sitcom register of Schitt's Creek, or Cronenberg's clinical body-horror palette — and assemble the colorist and DI team so.

Here is how the work shapes up. Reference passes are developed on hero scenes first, signed off with the DP and director, then propagated across the timeline so the visual feel stays steady from first frame to last. HDR work is handled natively on calibrated Dolby Vision and HDR10 PQ trim displays through the full Dolby Vision pipeline at DNEG and Pixomondo, with HDR10+ and HLG variants created for platform-exact delivery and SDR Rec.709 trim passes made for legacy delivery and CBC / CTV / Global / Radio-Canada broadcast.

Here is how it adds up. Remote review runs through Frame.io, Streambox, and ClearView Flex pipelines so directors, agencies, and showrunners sit in from Los Angeles, London, Mumbai, or Montreal in real time with full-resolution picture and clip-by-clip approval. Theatrical-bound masters are graded against DCI projection standards for Cineplex, Landmark Cinemas, Festival du nouveau cinéma, TIFF, Hot Docs, VIFF, and Fantasia. Series destined for Netflix Canada, Disney+, Crave, Apple TV+, and Amazon Prime Video are tuned to each platform's encoding profile and QC needs. DCP packages, IMF masters, CMF Cancon deliverable records, and bilingual English/French title-card grading ship alongside each master.