Edit, color, and finishing — supervised by the people who shot the picture.
Most finishing houses run on volume. A timeline comes in, an artist works through a punch list, a master goes out. The DP is in the room for one session, maybe two. The director sees a draft on a link.
We work the other way. The edit, the color, the finish — these are creative decisions, not technical handoffs. A grade isn't a preset matched to dailies; it's a choice about what the picture is supposed to feel like, made in conversation with the people who shot it. Editorial isn't a punch list; it's the moment the film actually becomes itself.
We give each project the time it needs, and stay in the room with the people who made the picture. That's the whole offering.
From assembly to picture lock.
Narrative, documentary, and short-form editorial. We work in DaVinci Resolve and Premiere — whichever the production was cut on, whichever serves the story. Director's cut, producer notes passes, picture lock. Available as full edit from dailies, or as a fresh pair of eyes on a stuck cut.
Grade with the people who shot it.
DaVinci Resolve color, supervised by working DPs. Conform, primary, secondary, shot match, look development, deliverables. We grade the picture together — DP in the room or on the link, decisions made in conversation. ACES and Rec.709 pipelines, RAW from any camera body, HDR on request.
Conform, deliverables, festival masters.
Online conform from offline cut. Title and credit work. Versioning for festivals, streamers, broadcast, theatrical. Deliverables in any spec — DCP, ProRes, H.264 mezzanine, IMF. Quality control passes. The unglamorous work that decides whether the picture actually plays.
Design, edit, mix — through trusted partners.
We don't run sound in-house — yet. For now, sound design, dialogue edit, ADR, foley, and final mix run through a curated set of collaborators we've worked with before. You get a single point of contact through us, and the sound work stays inside the same conversation the picture's in.
A call about the project — script, footage, intent. Spec, schedule, scope. We figure out together whether the work fits the suite and the calendar.
Footage in. Conform from EDL or FCPXML. Reference material — director's notes, look references, prior color work — ingested. Suite calibrated for the project.
Edit sessions, grade sessions, finishing passes. DP and director present in person or on the link. We build the picture together, one decision at a time.
QC pass. Deliverables generated to spec. Any festival, streamer, broadcast, or theatrical version you need. Archive of the project preserved for future revisions.
Approaches color the way he approaches the camera — as a creative tool in service of the story.
View Kshitij's portfolio↗Reads a cut the way an editor does, sees coverage the way someone who's lit it does.
View Siddharth's portfolio↗Custom rates per project. Tell us what you're finishing, when it ships, and what spec it needs to land in.