Color Grading

Here is how this works in practice. We deliver creative grading in calibrated suites, working from the corrected master through final OK'd look. Our team builds tonal palettes, shapes contrast and saturation, uses power windows and tracking for selective work, and develops a coherent look that supports the director's intent across the whole film. Morocco's landscapes are a colourist's resource — the ochre and gold of Aït Benhaddou and Ouarzazate, the deep blue and white of Atlantic Essaouira, the saturated interiors of riads and souks, the vast neutral expanse of the Sahara.

On the ground, Global shoots shoot here precisely for those textures, and the grade is where that material is finished into a distinctive look. The post sector now completes grading in-country alongside edit and sound. We work to picture lock or fit late cut changes so the look always tracks the finished film.

Here is the short of it. Graded masters in Morocco serve theatrical, broadcast and streaming release. Theatrical exhibition runs to DCI-compliant Digital Cinema Packages for the Marrakech Global Film Festival. The National Film Festival in Tangier, broadcast versions meet 2M and SNRT specs, and global titles deliver to streaming-sites colour and HDR standards, frequently needing both a HDR and a SDR trim.

Here is what we have to work with. On the ground, moroccan auteurs set the creative bar. Maryam Touzani's 'The Blue Caftan', a Cannes competition title later shortlisted for the Best Global Feature Oscar, and Nabil Ayouch's 'Casablanca Beats' both show a confident, today's visual sensibility. We help global and local shoots realise a grade that is both expressive and in tech deliverable, finished to the exact specs their distribution partners need.