When the timeline is clean, organized, and properly prepared, the color and finishing teams can dive straight into the creative work. When it’s messy — we spend hours just untangling problems that could’ve been solved upstream.
At Wild Lion Media, remote grading isn’t a compromise — it’s a streamlined, secure, and cinematic experience designed to bring your vision to life from wherever you are.
Shooting on the FX9? Don’t leave image quality to chance. This hands-on guide breaks down the exact settings every DP and colorist should use to get stunning, gradable footage from the Sony FX9.
As a colorist and post-production specialist, I handle 20–30 editing projects a year — each with thousands of files across multiple shoot days. When you’re dealing with that much footage, automation becomes essential. So I decided to build a solution myself.
Magda Wolnik’s documentary, Esaro, has been awarded Best Short Documentary at the Toronto Women Film Festival! This festival is dedicated to recognizing, supporting, and amplifying women’s voices in cinema.
When you’re deep in production, dailies are the first glimpse into what’s been captured—your first look at how the story is taking shape. As a Colorist and Post Specialist, I’ve developed a dailies workflow.
