Video post-production, from your footage to a delivered master.

The first question producers ask is whether they can arrive with nothing but footage. Yes — that is the normal case here, not the exception. Your shoot stays with the people who made it, and the work picks up the moment the camera does.

What arrives is the material, the brief and the date. What goes back is the finished master. Everything between those two happens in one place, so the edit, the sound and the delivery files are not three companies agreeing with each other by email.

Editing, graphics and compositing run on the Adobe applications — Premiere Pro, After Effects, Photoshop, Media Encoder — with Fusion for compositing and DaVinci Resolve for color. Generative tools sit in the same timeline as everything else: a generative fill inside Photoshop or After Effects is a cleanup pass, not a separate department.

We do not publish a house delivery specification, and we would be a little suspicious of one. The list that matters is your list: the codec your platform takes, the loudness your broadcaster measures, the caption format your player reads, the ratios your placements run in, the file names your system will not accept variations of.

So the specification is agreed in writing before work starts, it sits in the scope rather than in an email, and what you get back is measured against it — not against what we usually do. If you do not have the list yet, say so early: working it out together is a short job at the start of a project and an expensive one at the end.

We already have an editor. Can you take just the finish?

Yes. Edit, visual effects and cleanup, sound and delivery are separable, and plenty of work arrives here as one of them. Send the cut and the source, tell us what is already locked, and we come back with what we would touch and what we would leave alone.

We have a production company already. Where do you fit?

After they wrap. Nothing here competes with the people who made the footage — post is the part of the job that can move to a different building without anyone noticing, and that is the part we take.

How many revisions do we get?

Agreed before the work starts, so it is never a discussion at the end. On a small job — a thirty-second edit with subtitles, say — one revision is included. On a fixed price, which revisions are covered is settled with the price itself, minor and major named separately.

Who actually does the work?

One person is accountable for every frame that leaves here: Ievgen Indiukov, who founded the studio in 2023. He works with the same small group of specialists on repeat work, the colorist among them. The composition is set out in full on the about page.

Will you sign an NDA?

Yes, whenever your side needs one. Work runs under contract either way; the NDA is there if your legal team wants it, not something we ask you to sign as a matter of course. If you have a template, send it with the brief rather than after the estimate.

What happens to our material after delivery?

It is archived by default, in access-controlled storage, so that when you come back in six months the project can be opened, revised, rolled back or re-versioned instead of rebuilt. If you would rather it were deleted, ask and we delete it. Some studios sell zero retention; we think the archive is worth more to you, and the choice stays yours.

Do you use AI on our footage, and do we get a say?

You get a say, and it is agreed before the work rather than found later in the master. Where the machine cannot reach the standard, the shot goes back to being done by hand, and nothing leaves here without a person having watched it through.