Welcome to SKYLAB…You have arrived.

Space-Age workflows. Sky-high security. Sci-fi creativity.

SKYLAB occupies the highest orbit of film finishing. We’re obsessed with creative and technical excellence – and above all, unforgettable audience experiences for every film that moves through our galaxy.

SKYLAB has innovated a highly adaptable film-finishing platform that saves time and money, and opens up more creative control for the entire team. It all unfolds in a state-of-the-art facility, where our work can be precisely executed on our industry-leading conform and color grading system, Baselight.

As much as possible, we like to work in the future proof color space of ACES (Academy Color Encoding System) and we preview all of your color in a state-of-the-art Christie 4K theatre, complete with Dolby 7.1 surround-sound, to ensure that you are getting the most out of your images.

Creative color decisions at the grading stage are absolutely crucial to the final look and feel of your movie. However, a typical DI process often forces you to make rushed color decisions, which become rushed and frantic near the end of a hectic delivery schedule.

At SKYLAB, we like to get involved at the beginning of your production process, designing a custom, integrated workflow that melds dailies, editorial, VFX and color finishing into a connected stream of unified color-data. This level of creative collaboration means that we can create Meaningful Color where we remove redundant or repeated tasks and create a pipeline where creative decisions are free to constantly evolve. With this type of parallel workflow, your color grade can be virtually complete by the time you picture lock – making this a truly innovative and stress-free way of working…

A new and more collaborative approach…

We have created a new open-source model, where teams of artists can tap into our resources and expertise. This makes for more cost-effective workflow options enabling us to work with Indie films and Studios alike. Whether you just need a room to edit in, a couple days of color grading, a DCP screening or a complete DI workflow experience, there are more ways than ever to work with SKYLAB.

This accessibility and scalability empowers more movies to be finished by leading professionals, using the latest equipment and the best Studio-level 4K theatre in town!

Welcome aboard!

SKYLAB, Where Finishing Starts at the Beginning.

Facility & Equipment Rentals:

4K & Stereoscopic Screening w/ Christie 4220 & Xpand 3D on our 26.5ft screen
Dolby 7.1 Theatrical Sound Screenings / Mix Reviews
Dolby DCP Playback System
Avid Screenings up to 4K Output
Screening Parties with up to 40 person screening capacity and 80 person events
AppleTV or Blu-ray private screenings / powerpoint presentations on our 26.5 ft screen
… and more!

Technical and Creative Services:

Look Development & Color Grading on Baselight™
Workflow & Delivery Consultation
Technical & Creative Spotting Sessions
Camera Testing & LUT Creation
Texture Management & Camera Texture Matching
Hi-Speed Data Transfers (Aspera, Air-Stream, Direct private fiber connections)
D-Cinema Mastering (DCDM & DCP)
QC for DCP and HDSR
Avid Calibration and Color Integration
Image Optimization
… and more!

Our passion is developing innovative workflows that achieve spectacular results.

With each project we aim to strike a balance between the technical and the creative aspects. We strive to elevate the creative process and celebrate technological advancements. Here is a look at just a few of the projects we’ve had the good fortune of working on. [Click thumbnails to see more…]

Angry Birds Movie (2015)
Trailers

Rovio Entertainment | Sony Pictures Animation
Directors: Clay Kaytis, Fergal Reilly | Trailer Colorist: Chris Macdonald
Finish: 2K D-Cinema, HD Broadcast, Facebook, Twitter, Instagram
Watch it here

Toyota Tundra Spot (2014)

Raven Films Inc
Colorist: Chris Macdonald
Finish: HD Broadcast

Koneline
(2015)

Canada Wild Productions | Telefilm Canada
Director: Nettie Wild | DP: Van Royko
Colorist: Andrea Chlebak
Shot On: RED EPIC, Sony F55, Mixed formats | Finish: 2K D-Cinema

Mercedes GLE AMG US Open Spot (2015)

Wondros Commercial Division
Directors: Arni & Kinski | Finish: HD Broadcast
Watch it here

Patterson’s Wager
(2014)

Silent Ibis Entertainment
Director: O. Corbin Saleken | DPs: Graham Talbot, Nelson Talbot
Shot On: RED EPIC | Finish: 2K D-Cinema

Lord Jones Is Dead
(2015)

Flicker Theory
Directors: Austin Andrews, Andrew Holmes | DP: Trevor Calverly
Colorist: Chris Macdonald | Color: ACES
Shot On: RED EPIC | Finish: 2K D-Cinema

Kahlil Gibran’s The Prophet
(2015)

G-Kids | Screen Partners
Director: Roger Allers | Colorist: Andrea Chlebak
Finish: 2K D-Cinema, 35mm, HD Broadcast

Chappie
(2015)

Sony Pictures Entertainment | MRC
Director: Neill Blomkamp | DP: Trent Opaloch
Colorist: Andrea Chlebak | Color: ACES
Shot on: RED EPIC | Finish: 4K D-Cinema, 35mm, 4K Broadcast

Elysium
(2013)

Sony Pictures Entertainment | MRC
Director: Neill Blomkamp | DP: Trent Opaloch
Colorist: Andrea Chlebak | Color: ACES
Shot on: RED EPIC | Finish: 4K D-Cinema, 35mm, 4K Broadcast

The Good Son

St Sophia, LLC
Director: Jesse James Miller | DP: Ian Kerr CSC
Colorist: Andrea Chlebak | Shot On: RED ONE, Mixed Archival

Becoming Redwood

StoryLab Productions
Director: Jesse James Miller | Cinematographer: David Crone
Colorist: Andrea Chlebak | Shot on: RED ONE (MX)

In Their Skin

Sepia Films
Director: Jeremy Power Regimbal | Cinematographer: Norm Li CSC
Colorist: Andrea Chlebak | Shot on: RED ONE (MX)

Arctic Air

CBC / Omni Film Productions
Executive Producer/Director: Gary Harvey | DP: Bruce Worrall CSC
Colorist: Andrea Chlebak | Shot on: RED ONE (MX)

Endgame

Showcase Television | Thunderbird Films
Producing Director: David Frazee | Cinematographer: Mathias Herndl
Colorist: Andrea Chlebak | Shot on: RED ONE (MX)

Facing Ali

Lionsgate Entertainment | Network Films | Spike TV
Director: Pete McCormack | Cinematographer: Ian Kerr CSC
Colorist: Andrea Chlebak | Shot on: RED ONE, Mixed Archival