From editorial coordination and conform to color grading and final deliverables, they played a central role in ensuring a smooth and consistent workflow across every stage of post-production. In this conversation, they share how the team structured the process, supported the film’s evolving creative direction, and delivered a cohesive final result through close collaboration with the filmmakers and production partners.

What was the scope of your involvement on Cold Storage?

Our involvement on Cold Storage began in post-production. We received the footage once principal photography was completed and started our work with the VFX pulls. This allowed us to focus fully on the quality and precision of each shot. In total, we delivered more than 60 VFX grabs, which made for a highly engaging and rewarding process.

What equipment was used during the shoot?

The film was primarily shot on the ALEXA 35, which provided excellent image quality from the outset. Our main challenge was not technical, but rather keeping pace with the many editorial changes and ensuring that every version remained perfectly aligned, with particular attention to detail in the final VFX rendering.

What were the key challenges you faced during the conform process?

We spent around 100 hours conforming all editorial versions outside of the VFX grabs. The edit evolved significantly, requiring multiple reconforms throughout the process. It was demanding, but also very rewarding, as it allowed us to closely support the director’s vision and ensure that each version accurately reflected his intent.

How were the grading sessions structured across the film’s different versions, and how closely did you collaborate with the cinematographer and creative team throughout the process?

The grading process unfolded across several key stages of the film’s evolution: five days in February 2024, three days in July 2024 for the Johnny’s Cut, nineteen days in October 2024 for the DEF version, and four days in February 2025 for the Dolby Vision HDR and SDR video versions. Each phase was highly focused and collaborative, allowing us to work closely with the creative team and producers to ensure that every color decision consistently supported the film’s visual direction.

Our exchanges with Tony Slater Ling were limited but very efficient. We maintained a strong and constructive dialogue with the producers, particularly during the October sessions when the final version was approved. During earlier stages, we shared daily QuickTime exports of the grading work with the creative team each evening, enabling fast, precise feedback and ensuring continuous alignment as the film progressed.

What were the main deliverables you produced?

For the theatrical release, we delivered DCP Atmos VO, 7.1 VO, 5.1 VO, as well as AD and SME VO. For the video release, we delivered ProRes Dolby Vision 4K and a 1.77 reframed ProRes version. StudioCanal maintains very precise specifications for each project, and we valued working within this clearly defined framework, which enabled us to deliver high-quality masters that could then be adapted for each territory.

Looking back, what would you identify as the project’s most significant challenge?

The primary challenge was keeping pace with ongoing editorial changes right up to the final stages of theatrical grading, while delivering files for validation on a daily basis. This required strong organization, responsiveness, and consistency, and it was very rewarding to see the film take shape and to contribute with such precision to its final version.

Final word?

We would particularly like to thank Laurent Pelé Piovani, our key partner on the project as assistant editor and VFX editor, for his support and valuable collaboration, as well as Eric Bassof for his trust and guidance throughout the post-production process. Their involvement greatly facilitated our work and contributed meaningfully to the success of the project.