Color Correction

Here is the layout. We deliver color fix from Istanbul finishing facilities, balancing exposure, contrast and white balance and matching shots across scenes so footage reads as a single, steady piece. Our colorists work from camera raw, log and edited timelines, neutralising color casts, correcting mixed lighting, recovering highlight and shadow detail and making sure scene matching before any creative grade starts. Turkey's mature post-prod sector, concentrated in Istanbul and sustained by the relentless episodic pipeline of the dizi industry, has produced deep coloring capacity and calibrated grading suites, and the favourable Turkish lira makes finishing color here strongly cost-competitive against Western European facilities. We work to scene-referred color running and the tech targets of the intended release, delivering corrected masters ready for online conform, grading and quality-control review.

Here is how the work shapes up. Istanbul facilities correct both domestic dizi output — the world's third-largest scripted-TV export business after the US and the UK. This keeps grading suites running steady — and global projects finishing in Turkey. We deliver corrected masters to EBU tech specs for the public TV networks TRT and the commercial channels Kanal D, ATV, Show TV and Star TV, and to the color and codec needs of streaming sites BluTV, Exxen, Gain and Netflix Turkish originals. For theatrical projects bound for the Antalya Golden Orange and Istanbul film festivals we correct toward DCI-compliant cinema color. Our colorists bring the precision Turkish auteur cinema demands — the controlled, naturalistic visuals of Nuri Bilge Ceylan's 'Winter Sleep' depends on careful correction before grading. Accurate, steady color fix is the foundation each later finishing stage builds on.