Look Development

Here is how the work lines up. Look development for Canadian productions runs through the country's senior color suites — Tattersall Sound & Picture and Studio Post in Toronto, DNEG Vancouver / Toronto / Montreal, Pixomondo Toronto, Lakeside, Urban Post Production, and MELS Post in Montreal — most of them outfitted with FilmLight Daylight and Baselight rooms paired with DaVinci Resolve Studio for on-set LUT iteration and Sony BVM-HX310 reference monitoring.

We coordinate prep-week camera-and-lens tests on ARRI Alexa 35, Sony Venice 2, RED V-Raptor, and the Atlas Orion anamorphic series Denis Villeneuve has favored since the Dune films, with the colorist embedded from the first shoot day so the dailies LUT, monitoring LUT, and final-grade LUT remain a single referenced object across production and post.

Andrea Chlebak (Sicario, Blade Runner 2049, Dune — the Villeneuve regular), Sergio Pasquariello at DNEG Vancouver (Dune: Part Two), Maxine Gervais in Montreal, Bill Ferwerda at Lakeside Toronto, and Ashley Brown at Pixomondo each bring a documented show LUT library we draw against for reference comparisons during the early discovery sessions.

Reference work is shaped by the Canadian cinematic vocabulary the production is most likely to live alongside: Cronenberg's clinical, desaturated palette for psychological-thriller projects; the Inuit natural-light camera work of Atanarjuat: The Fast Runner and Isuma Productions for projects shooting on Indigenous land; the saturated alien biome palette of Star Trek: Discovery (CBS Studios Toronto) for science-fiction series; Villeneuve's amber-and-shadow Sicario / Dune approach for elevated drama. Show LUTs are authored as 33x33x33 .cube files with paired CDL ASC values so DITs, edit, VFX vendors (DNEG, Pixomondo, Mr.

X / Wolfe). The final-grade colorist all share the same starting point, and a style guide ships with every test reel documenting print-film emulation choices, skin-tone targets, and Dolby Vision HDR trim intent. The deliverable pack covers monitoring LUTs for ARRI / Sony / RED HDR and SDR outputs, dailies LUTs for the post house, and the show LUT exported in formats every downstream vendor in the Canadian pipeline expects.