Look Development

Here is the layout. We deliver look development through Vienna's grading suites and colour-science pros, setting up a production's look before principal photography starts. Our team sets up camera and lens tests, develops candidate looks on representative footage, and works with the cinematographer and colourist to converge on a defined aesthetic.

Here is how this works in practice. We build tracking LUTs optimised for on-set displays and dailies, so each department previews the intended look from day one while RAW capture retains full dynamic range. We document the agreed direction in style guides and tech specs, integrate the look into the dailies and grading pipeline, and make sure the colour running carries cleanly from camera through to final delivery — whether for theatrical release, an ORF broadcast, or a streaming sites.

Here is how the work shapes up. Austria's look-development work draws on a cinematic custom known for deliberate, considered visuals — the country of Michael Haneke, whose features are defined by precise visual control, and of cinematographers such as Christian Berger, Oscar-nominated for 'Amour', and Martin Gschlacht, who shot Jessica Hausner's 'Little Joe'.

Here is the short of it. Vienna's finishing sector supports look development for ORF drama, festival features bound for the Viennale and Diagonale, and global co-productions backed by the Österreichisches Filminstitut and its ÖFI+ rebates. The capital's grading houses also serve natural-history and factual production for Red Bull Media House and Terra Mater Studios, where a steady visual signature across long-form series matters.

From defining the palette of period shoots to building looks for modern drama. Vienna's look-development infrastructure pairs colour-science depth with close cinematographer joint work.