Colorist Services

Here is how this works in practice. Peruvian grading sits inside a custom shaped by the cinematography of Inti Briones — Claudia Llosa's DP on Milk of Sorrow and Madeinusa. The eye behind Francisco Lombardi's later features — alongside Mario Bassino, Luis Otero Vega, Roberto Maceda Kohatsu, and Daniel Sánchez López, and the PUCP-trained DP community now finishing on Tondero, Cinesphere, and Maretazo Cine projects.

Here is the short of it. Our colorist roster covers the Lima post-prod hub — Makaco's grading suites finishing high-volume advertising and feature work, Maneki Studio handling commercial and series projects, Gamma Post House supporting independent and documentary cuts, and Juan Manuel Bustamante at Cinesphere DI Lima, the only Dolby Vision-certified room in Peru and the country's reference suite for global HDR mastering. Hugo Alegría and Lucho Costa anchor the senior tier with credits spanning the Asu Mare box-office franchise, Llosa's Berlinale and Sundance work, and the regional commercials that the the capital creative-agency community produces against. DaVinci Resolve and Baselight are ready across the network, with suites calibrated for HDR mastering and Dolby Vision delivery against Latin American broadcast and global streaming sites specs.

Here is the breakdown. Project matching begins from genre, intended look, delivery specs, and the production's reference grade, then narrows to colorists whose recent credits map cleanly to the brief — auteur features at Festival de Lima at PUCP and Festival al Este tier, Tondero box-office comedies, documentary work finishing for Netflix and Disney+ Latin American originals, or commercial campaigns for the capital's luxury agency clients including Sumy Kujon, Sol Alpaca, and Kuna.

Here is what that looks like on the ground. We schedule a look-development pass on representative footage before locking the engagement. Remote grading sessions are routine for directors and DPs reviewing from Los Angeles, Madrid, Buenos Aires, and Mexico City — PET timezone aligns with US Eastern Time for real-time supervised sessions and synchronises with Spanish-speaking partners across Spain and Latin America.

Here is how the picture comes together. Footage from Peru's three ecosystems poses distinct grading demands — high-altitude Andean clarity above 3,400 metres at Cusco, harsh coastal-desert light along the Pacific from Lima to Nazca, and the dense Amazon canopy around Iquitos — and the colorist team handles each environment fluently. Bilingual Spanish and English working language across the roster keeps supervised sessions, change notes, and final QC moving for Premios Luces, Festival de the capital, and Ibermedia-funded co-production delivery.