Film Production: Our skills, knowledge and experience allow us to employ the best technology for our artists and creators to enjoy.

Colour grading

Pablo Garcia Soriano has an artistic background in colour grading and a skillset enriched in awareness of today’s demanding distribution channels by:
  • Creating looks for various films and TV shows
  • Working with cinematographers and other colourists
  • Participating in the ACES Technical Advisory Committee
  • Creating colour managed workflows
At Cromorama, as well as supervising the preproduction and production stages, we finish the colour creative process beyond that of a traditional post-production studio. We want to be part of your storytelling framework from beginning to end.

Remote Grading

With our proficiency and expertise in colour management, we can look after the colour matching of the clients' display to our facility's reference display. Each project is different and we will adjust to your needs, distance and location in the most cost-effective way. We achieve this by either bringing displays to you or by utilising our network of collaborators in countries like Poland, the UK, Italy, Spain or the US.

In this standardised viewing environment, we can provide online grading sessions via an encrypted network, with our colourists, maintaining communication between the cinematographer, director and stakeholders securely.

Look creation

The closer to the cinematographer’s intent the dailies look, the smoother the creative process will be for the director, editor and producers. Time will be saved in post-production.

After the creative meeting, and based on your inspirations and mood board, we arrange a grading session with our colourist, in a colour-managed environment. To save time, this should take place after camera, lighting, make-up, and costume tests.
This helps your production by making it deliverable agnostic (HDR, SDR, theatrical) and camera agnostic, which facilitates the inclusion of other camera packages (special cams, pickups, etc.). We will also create all LUT camera packages for each camera system to be used throughout the production. 

Below is a list of Pablo's recent projects in his capacity as a look designer/colour supervisor:

You Should Have Left

(Universal 2020), Feature
DP: Angus Hudson BSC

His Dark Materials (S2)

(HBO–BBC 2020), TV Series
DP: David Higgs BSC

The Dark Tower

(Amazon 2019), TV Series
DP: Peter Levy ASC

Criminal

(Netflix 2019) TV Drama
DP: Jamie Cairney

Creation Stories

(Sony Pictures 2019), Feature
DP: Roberto Schaefer ASC, AIC

Sex Education (S1)

(Netflix 2018), TV Drama
DP: Jamie Cairney

Workflow Design

“Messing up your colours messes up your storytelling!”
Annie Chang. Universal Pictures and Co-Chair of AMPAS.
All productions, regardless of their budget, should aim to have a well-defined colour pipeline to ensure the transfer of creative intent throughout every stage.

We supervise all of these, from pre-production through to look creation, look management (dailies, di, VFX) and deliverables.
 
Our core value aims to preserve and protect creative intent. From ACES colour pipelines to custom made ones, our expertise will ensure that what you see is what you get.

Technical LUT developments

Camera conversions from a manufacturer’s (A) Log space to another (B) as well as to a production’s working spaces for colour managed workflows are core in our everyday life. In conjunction with AntlerPost, we developed a state-of-the-art algorithm called ORION-CONVERT to create any standard conversion transforms (SDR to HDR, HDR to SDR, etc). Display calibration LUT’s would also fall into this category.

Mastering, remastering and delivery

Once your post-production process is finished we can provide you with all needed deliverables (HDR, SDR, IMF, DCP, H264/ H265, etc.) We also offer a service of archive remastering to give new life to your visual catalogue by adapting it to the new distribution technologies. Our “Technology & Engineering Emmy®” nominated ORION-CONVERT algorithm facilitates the conversion process from one standard to another.

Monitor calibration

Bad display colour consistency is a common problem during production (tests, shooting, editing, etc). Therefore, by looking after viewing environments we can provide a service of monitor calibration (for indoors and outdoors) in those projects that we are involved in. In other words, we take care that what you see on the set is seen by everyone else throughout the production.