Color Grading

Grading is where a Peruvian production finally finds its emotional voice. The country's finishing setup has grown to support that craft. Cinesphere DI Lima runs Peru's only Dolby Vision-certified room. The Baselight and DaVinci Resolve Studio bays sit at Tondero Post, Audiovisual Project Perú Post, and La Mecha Post. Working across these rooms, our colorists shape contrast, palette, and skin tone to match the director's intent.

That might mean the warm earth-tones and ochre stone of a Sacred Valley period drama shot above Pisac, the cool grey-blues of a Lima Miraflores-set thriller, or the saturated turquoise of a Máncora or Paracas coastal series. It might also be the deep emerald shadows of an Amazon basin documentary out of Iquitos, or the high-altitude clarity of an altiplano feature around Puno and Lake Titicaca. Reference passes are built on hero scenes first, then signed off with the DP and director. From there they carry across the timeline, so the visual language stays steady from first frame to last.

Peru's grading tradition grows from the film schools at PUCP and Universidad de Lima. Today's colorists work alongside DPs like Inti Briones, who shot Claudia Llosa's The Milk of Sorrow and Madeinusa. Other leading names include Mario Bassino, Luis Otero Vega, and Roberto Maceda Kohatsu. HDR work is done natively on calibrated Dolby Vision and HDR-10 PQ trim displays at Cinesphere DI, with SDR Rec.709 passes made for legacy delivery.

Remote review runs through Frame.io and Streambox pipelines. Directors, agencies, and showrunners can sit in on grading sessions in real time from Los Angeles, Madrid, Buenos Aires, or Bogotá. Masters bound for the Cineplanet, Cinemark Perú, UVK Multicines, or Cinépolis Perú theatrical chains are graded to DCI projection standards. Series bound for Latina, América Televisión, ATV, Movistar Play, Netflix Latin America, or Disney+ LATAM are tuned to each platform's encoding profile.