Color Correction

Here is the layout. Colour fix is the foundation layer that has to be clean before any creative grade can start. It carries specific weight on Chinese shoots where shoots routinely combine many camera systems, mixed daylight and practical sources, and locations that change fast — the harsh midday light of Gobi or Xinjiang exteriors, the warm tungsten interiors of restored Beijing hutongs, the diffused Shanghai bund haze, the cool Hengdian sound-stage practicals.

Here is how this works in practice. Our post team sets up primary correction sessions at the calibrated DaVinci Resolve and Baselight bays inside Base FX Beijing, More VFX, Beijing Film Group Post, and Shanghai Film Studio Post, where colorists trained at Beijing Film Academy and through Hong Kong cinematographic lineage balance exposure, neutralise unwanted casts, and align skin tone reference across each camera source feeding the cut.

Here is how the work shapes up. The workflow starts with a tech assessment of the footage — scopes-led analysis of waveform, vectorscope, and parade against the rec.709 or DCI-P3 working space. Followed by shot-by-shot primary correction that sets baseline consistency before any creative pass starts. ARRIRAW, RED R3D, Sony Venice X-OCN, ProRes 4444 XQ, and DNxHR sources are all handled inside ACES or Resolve Color Managed pipelines, with footage from many cameras matched frame-for-frame so cuts read as a single coherent visual sequence.

Here is how it adds up. The picture on the ground is more specific. Final masters are verified against NRTA broadcast safe levels for delivery to CCTV, Hunan TV, Dragon TV, or Phoenix TV, and against EBU R128 or ATSC A/85 loudness when the same package needs to ship worldwide. Detailed QC reports go with each delivery so downstream finishing teams and TV networks can sign off without escalation.