LaserPacific has the best DI timing theatres in the world with some of the most experienced and talented colorists working in them, using the industry-leading Lustre™ color corrector from Autodesk. And with our efficient process, you can finish your film in under a month, including scanning, conforming, color timing and film output. In another week you can also have a digital cinema package and home video masters. Our in-house color scientists have characterized and calibrated our entire process, so that you can be confident that what you see in our timing theatre is what you will get on your film and digital cinema outputs.

If you shot on film, starting with your Avid or Final Cut EDL, we generate pull lists and keycodes for automated scanning of your camera rolls. There is no need to pull selects or cut negative. All of our 35mm scans are done at 4K for the sharpest, cleanest pictures, even if you are finishing at 2K. If you're shooting digitally, we'll use the files produced by your camera.

With our powerful Lustre™ color corrector, extended by a suite of our own plug-ins, our skilled colorists can translate your creative direction to the big screen.  From the most basic printer light adjustment to multiple trackable windows isolating various objects within a scene, our colorists can take your image to wherever you want it to go.

For film output we have the ARRI Laser or the Imagica HSR, both recording onto acetate or estar inter-negative film stock. And LaserPacific’s own film lab provides quick service with the tightest color control and cleanest prints in town.

As the theatrical film release is being finished, the home video mastering begins. Using our proprietary color science, we translate the color from the big screen to the small screen, taking into account the different color gamut and surround conditions. This means that only a quick trim pass is usually necessary, although you can spend as much or as little time as you want on the HD grading. We pan and scan the picture from the original theatrical aspect ratio for framing into 1.78 or 1.33 aspect ratios. The film is then output as HDCAM SR 4:4:4 masters, the soundtrack is laid down, and a thorough quality control pass is completed before delivery.

To see a workflow chart of our digital intermediate process click here.

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