Color Grading

Here is how this works in practice. We deliver creative grading through Vienna's calibrated grading suites, where colourists shape the mood, palette and look of a project to serve the director's vision. Our team books rooms equipped with DaVinci Resolve Studio and Baselight, runs look-development sessions on key scenes, and applies the set up grade always across each sequence.

Here is the short of it. We grade in HDR natively on calibrated reference monitors, deriving SDR trim passes for standard distribution, and support HDR10, HDR10+, Dolby Vision and HLG deliverables. We set up media conform, watch remote or in-suite director review, and produce the full set of graded masters — theatrical, broadcast and streaming — conformed to the tech specs each release window demands.

Whether the deliverable is a DCI master for Viennale, an ORF broadcast at EBU specs, or a streaming master, we lock the target before grading starts.

Here is the breakdown. Austria's grading craft sits within a cinematic culture that prizes distinctive visuals — the country of Michael Haneke, whose Palme d'Or-winning 'The White Ribbon' and Oscar-recognised 'Amour' are defined by precise, restrained visual control, and of Jessica Hausner, whose 'Little Joe' was shot by Martin Gschlacht. Vienna's finishing sector grades ORF drama, festival features bound for the Viennale and Diagonale, and global co-productions backed by the Österreichisches Filminstitut and its ÖFI+ rebates.

Here is what that looks like on the ground. As an EBU member market, broadcast grades conform to EBU tech specs, with German and English versioning standard. Vienna's suites also handle high-volume natural-history and factual finishing for Red Bull Media House and Terra Mater Studios, where steady grading across long-form series is key. From the rooms grading Austrian Film Award contenders to facilities tied to Rosenhügel Filmstudios. Vienna's grading infrastructure pairs creative drive with tech precision.