Color Grading and Finishing

We offer the newest HDR and ACES workflows using latest Baselight and Barco technologies in our two 140 sqm grading theaters.
Staying ahead of the technological curve is only half the battle; the art and creativity of color grading need to be just as innovative.
Claudiu Doagă, Digital Cube's 17 year experienced main colorist uses his digital tools as if he were a painter using brushes to craft images that inspire and entertain.

DIT – Where It All Starts


The DIT makes the correct transition between set and post production. It is a crucial role, covering a wide range of responsibilities: data integrity and security, look management, synchronization between the settings of different camera types, quality checks and backups on storage media such as LTO tapes.

Remote Grading

Our remote grading capability enables you to set the look
 of your grade in one studio and finish it in another; it’s like the colourist is in the same room with you.
This means agencies, directors and directors of photography
 can work in real-time remote grading anywhere in the world, allowing our clients the choice and flexibility to handpick the artist and colourist they want, even while shooting on location in Eastern Europe and finishing another project in any other place in the world.
We can use Baselight, Davinci Resolve and Assimilate Scratch.

Workflow Design and Supervision

You have a specific project of building a new production pipeline for your film, stereoscopic production, TV series or cinema releases? A complex project involving a mix of digital and film camera footage with VFX? Digital Cube can help you find the right equipment and people for your budget and projects, given their extensive expertise on the local and European film market. We can make sure communication between departments goes smoothly and nobody misses deadlines.

Editorial and Conform

Digital Cube's editors work alongside a film’s editorial team throughout principal photography and post, ensuring that the filmmaker’s final cut is exactly as intended. Our secure, high-speed data pipeline also allows visual effects to be integrated into the film’s final cut from facilities all over the world.

Archival and Film Scanning

We continue to support the scanning and restoration of all film formats (2, 3 and 4 perf 35mm and 16mm) to capture and archive their pristine quality and digital transition. Our restoration services are dedicated to the art and science of image restoration and preservation. Driven by a team of the most experienced and creative local technical specialists in the industry, the group offers a wide spectrum of innovative solutions to production companies and image archives worldwide.

Quality Control and Deliverables

With the recent introduction of file-based delivery of programmes and commercials, it has also been mandated that all quality control is to be carried out by the production and post-production companies supplying the content. We trained our staff with the necessary knowledge to perform the correct quality control procedures. We cover both the image look, making sure the best encoding tools on the market were used and the legal requirements such as audio loudness, eyeball and automated QC as well as photosensitive epilepsy (PSE) QC. We examine for eyeball QC and then we examine the associated automatic QC and PSE reports for that material.

Subtitling and Localisation

A 15 years experinced team is the guarantee that your show will be understood by everybody, offering blazing speeds and accuracy for both subtitling and translation services.

DCP Creation and Delivery

Digital Cinema Package creation is a mainstream delivery format for all feature film delivery and our studio meets the most high end requirements, using the best and most up to date software available.