Color Correction

Here is how this works in practice. We deliver color fix that normalises exposure, white balance and tonal range across each shot, giving a project a clean, steady tech foundation before creative grading starts. Our team sets up media preparation, conform, session scheduling and quality control in calibrated grading suites, matching footage from mixed camera kits into seamless scene matching. Dutch finishing facilities in Amsterdam and Hilversum, the broadcast-media hub, serve feature documentary, drama and advertising, and our colorists work with pro scopes to check broadcast-safe luminance, chrominance and gamut.

Here is the layout. We handle the full range of pro formats, from camera RAW through ProRes and DNxHD, in resolutions up to 8K, running a color-managed pipeline that holds accuracy from ingest to delivery. Corrected masters are checked against the tech specs each sites demands and prepared as a stable base for the creative grade.

Here is the short of it. The Netherlands is an EBU member, so broadcast deliverables for NPO and the commercial networks RTL Nederland and Talpa Network are corrected to EBU tech specs, while theatrical and festival material follows DCI cinema standards for release through the Global Film Festival Rotterdam and the Global Documentary Film Festival Amsterdam. The country's strong documentary custom means color fix frequently normalises observational footage shot across different locations and lighting. Netflix runs its EMEA hub from Amsterdam, so correcting to streaming delivery specs is routine.

Here is how the work shapes up. Our team works in the visual custom of celebrated Dutch cinematographers. Robby Müller, whose work shaped 'Paris, Texas', and Hoyte van Hoytema, who shot Christopher Nolan's 'Oppenheimer' — delivering corrected masters that respect the first photography.