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

 

Color & Finishing by SKYLAB | © 2015 Columbia TriStar Marketing Group, Inc | VFX by Image Engine Design
Raw Camera Original | © 2015 Columbia TriStar Marketing Group, Inc
Color & Finishing by SKYLAB | © 2015 Columbia TriStar Marketing Group, Inc | VFX by Image Engine Design
Raw Camera Original | © 2015 Columbia TriStar Marketing Group, Inc
Color & Finishing by SKYLAB | © 2015 Columbia TriStar Marketing Group, Inc
Raw Camera Original | © 2015 Columbia TriStar Marketing Group, Inc
Color & Finishing by SKYLAB | © 2015 Columbia TriStar Marketing Group, Inc | VFX by Image Engine Design
Color & Finishing by SKYLAB | © 2015 Columbia TriStar Marketing Group, Inc | VFX by Image Engine Design
Raw Camera Original | © 2015 Columbia TriStar Marketing Group, Inc
Color & Finishing by SKYLAB | © 2015 Columbia TriStar Marketing Group, Inc | VFX by Image Engine Design
Color & Finishing by SKYLAB | © 2015 Columbia TriStar Marketing Group, Inc | VFX by Image Engine Design
Raw Camera Original | © 2015 Columbia TriStar Marketing Group, Inc
Color & Finishing by SKYLAB | © 2015 Columbia TriStar Marketing Group, Inc | VFX by Image Engine Design

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

 

© 2013 Columbia TriStar Marketing Group, Inc. All rights reserved.
© 2013 Columbia TriStar Marketing Group, Inc. All rights reserved.
© 2013 Columbia TriStar Marketing Group, Inc. All rights reserved.
© 2013 Columbia TriStar Marketing Group, Inc. All rights reserved.
© 2013 Columbia TriStar Marketing Group, Inc. All rights reserved.
© 2013 Columbia TriStar Marketing Group, Inc. All rights reserved.
© 2013 Columbia TriStar Marketing Group, Inc. All rights reserved.
© 2013 Columbia TriStar Marketing Group, Inc. All rights reserved.
© 2013 Columbia TriStar Marketing Group, Inc. All rights reserved.
© 2013 Columbia TriStar Marketing Group, Inc. All rights reserved.
© 2013 Columbia TriStar Marketing Group, Inc. All rights reserved.
© 2013 Columbia TriStar Marketing Group, Inc. All rights reserved.
© 2013 Columbia TriStar Marketing Group, Inc. All rights reserved.

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

 

Tucker & Dale vs Evil

Magnet Releasing | Filmaka | Voltage Pictures
Director: Eli Craig  |  DP: David Geddes ASC, CSC
Colorist: Andrea Chlebak  |   Shot on: RED ONE

 

The Whale: Saving Luna

Mountainside Films
Directors: Michael Parfit, Suzanne Chisolm
Colorist: Andrea Chlebak

 

Raw Camera Footage
Final Color Grade
Raw Camera Footage
Final Color Grade
Raw Camera Footage
Final Color Grade
Raw Camera Footage
Final Color Grade
Raw Camera Footage
Final Color Grade
Raw Camera Footage
Final Color Grade
Raw Camera Footage
Final Color Grade
Raw Camera Footage
Final Color Grade

Freezer Burn: The Invasion of Laxdale

Panacea Entertainment
Director: Grant Harvey  |   DP: John Spooner
Colorist: Andrea Chlebak  |   Shot On: Panavision Genesis

  • Angry Birds (Trailers)

    Angry Birds (Trailers)

  • Toyota Tundra

    Toyota Tundra

  • Koneline

    Koneline

  • Mercedes GLE AMG

    Mercedes GLE AMG

  • Patterson’s Wager

    Patterson’s Wager

  • Lord Jones Is Dead

    Lord Jones Is Dead

  • The Prophet

    The Prophet

  • Chappie

    Chappie

  • Elysium

    Elysium

  • The Good Son

    The Good Son

  • Becoming Redwood

    Becoming Redwood

  • In Their Skin

    In Their Skin

  • Arctic Air

    Arctic Air

  • Endgame

    Endgame

  • Facing Ali

    Facing Ali

  • Tucker & Dale vs Evil

    Tucker & Dale vs Evil

  • The Whale: Saving Luna

    The Whale: Saving Luna

  • Freezer Burn

    Freezer Burn

Past & Present Clients

 

News and Press. The Latest about SKYLAB.

Reel West Mag | ‘Post Production House Servicing Chappie Feature Rebrands to Become Skylab’ | February 2015
American Cinematographer Mag | ‘Elysium: Worlds Apart – Trent Opaloch Incites a Rebellion’ | September 2013
Reel West Mag | ‘Vancouver Post, VFX, & Sound Facilities Combine Forces on Sony Pictures’ Elysium’ | Fall 2013
Creative Mornings | ‘Coloring For Film': Andrea Chlebak on How Color Changes Perception | September 2014
FilmLight | Case Study: ‘Creating a 4K ACES Finish for Elysium’ | August 2013
Definition Magazine | ‘The Shadow Conform is Born': Grading Profile | Fall 2013
RED Digital Cinema Online | ‘Elysium DI Colorist Talks 4K Finish & Big Picture’ | August 2013
Post Magazine | ‘Digital Intermediate: Elysium’ | October 2013
North Shore News | ‘Elysium Taps into Local Talent: Colourist Andrea Chlebak Part of Savvy Team’ | August 2013
Studio Daily | ‘Elysium Colorist Andrea Chlebak on Managing Naturalistic Looks for a VFX-Heavy Film’ | July 2013
MyTherapy Studios | ‘Elysium by Andrea Chlebak': Color Grading Feature | August 2013
Pressbox | ‘Elysium Aesthetic Guided by Game-Changing Vancouver Company’ | August 2013
Below The Line | ‘Central & FilmLight Create ACES Workflow for Elysium Finish’ | August 2013
Reel West Mag | ‘Seeing Double': Jesse James Miller on Making Two Films in Less Than Two Years | May 2013

We love film. We want to be a part of yours.

 

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SKYLAB Services Inc

400 – 122 West 8th Avenue Vancouver BC Canada V5Y 1N2

Monday – Friday  9:00AM – 6:00PM  Pacific Time GMT -8 Hrs

+1.604.879.5800

info@skylabHQ.com



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