Whatever production you’re working on, be it commercial, series, documentary or feature film, colourgrading is always needed to give your project that extra kick. In addition to that, it can also be used to give your shots a personal touch. If, for example, the shot took place on an overcast day, we can replace the sky with beautiful clouds or something more fitting to what you’re trying to achieve. We also remove set microphones, so that these shots have no need for additional visual effects.

We always strive to find the right colourist for your project. De Lodge makes use of three grading suites running either Assimilate Scratch or Davinci Resolve. According to your needs, big screen grading is also possible via our cinema with Barco projector.

Our passionate visual effects artists are at your disposal to help make your shots into exactly what they’re supposed to be. This can mean taking out distracting or unwanted elements or adding objects or effects that could not be achieved on set.

Matte paintings, fill-in sceens for mobile phones or televisions, adding graphical elements, adding 3D talking animal heads, chromakeying, (fluid) simulations etc... All is known as visual effects.

At De Lodge, visual effects are created using the highest industry standard of software with our homemade grading and vfx pipeline project management system, including a client media review platform.

We are also regularly found on set to assist the cast and crew create a better resulting vfx shot.

Imagine flying over a cornfield. The camera descends slowly into the field and we find ourselves between corn stalks.

Now imagine a Boeing 737 cruising through the clouds. Via the camera, outside the airplane we take a peek through the windows and inside the aircraft.

These are just two small examples of 3D computer generated shots we made.

We also offer the technique of previsualization of a shot or scene. It helps the crew to design their shot and see what they need to shoot on set, the problems that might arise and how to handle them.

Through our close partnership with our network of commercial, film and trailer editors we can make the perfect deal, so that your project can find the right fit and the right edit.

Converting rushes to usable offline material with the correct LUT is also no problem.

Editing is done on either AVID Media Composer or Premiere Pro and it’s all loaded up and ready when you walk in.

In addition to our daily activities, De Lodge is often asked to take care of post-supervision on projects. In this way you have the benefit of having the post-planning centralized in-house. Ask us for more information.

Laying out the rushes according to an EDL is what we call prepping. Everything is ready for the arrival of the client and the colourist.

Placing titles, sound relays, making a DCP for the cinema, a IMF for Netflix, a DCDM for the archives and a H264 for online streaming are all part of the last phase of delivering.

Everything is, of course, thoroughly checked (QC) before it’s sent out and a backup of the project is always provided by us both in a secure cloud environment and on LTO.

Want to be updated on the status of your visual effects anytime and anywhere? Give your approval or feedback on our work via our review system.

Rewatch your production day anytime and anywhere on every device you have with you. Give your comments, select takes or already make a plan for colour grading. With us, all your dailies are saved in a secure cloud.

Producers finishing their film in the Netherlands can apply to the Dutch Film Fund for use of the cash rebate system, which offers up to 30-35% cash back on post production.