About
A small studio, on purpose.Built to protect the work.
Our story
We started because the good rooms were disappearing.
RenderSynth was founded in 2018 by an editor and a colorist who kept ending up on the same films. What they shared was a bias — the belief that post-production is not a downstream service to be optimized, but a second draft of the film itself.
Everything we've done since is an argument for that bias. We stay small on purpose. We do not run parallel bays. We do not offshore. We take on a small handful of features and series each year, and we finish them.
Our crew is fewer than a dozen artists — editors, assistant editors, colorists, and VFX supervisors — who have shipped work to Cannes, Sundance, TIFF, and every major streaming platform. We stay because the room is quiet, the notes are considered, and the coffee is unreasonably good.
Principles
Four things we won't compromise on.
01
One team, one film.
The artists who start the project finish it. No handoffs to junior bays, no rotating colorists mid-grade.
02
Story before spec.
We deliver to Dolby, Netflix, and DCI specs — but never at the cost of the intent. Tech serves narrative, not the other way around.
03
Say what we think.
We push back when we disagree, in writing, with reasons. You hired us for a point of view. We won't hide it to be polite.
04
Finish quietly.
No press releases about picture lock. No case studies without permission. Your film is not our marketing.
The room
Calibrated. Quiet. Yours for the day.
Two grading theaters — a Dolby-reference HDR bay and an SDR review room — plus four editorial suites and a dedicated VFX floor. Sony BVM-HX310 and Flanders CM250 monitoring. Baselight, Resolve, Nuke, Flame, Avid, and Premiere on-prem, backed by 400 TB of shared storage. All climate-neutral.
