PHILOSOPHY
Early screenings matter. Investors, festival programmers, sales teams, and producers often experience a film for the first time through unfinished editorial cuts, long before formal finishing begins. Raw or inconsistently graded footage can unintentionally distract from story, performance, and emotional tone.
A focused temporary grade helps establish consistency, shape atmosphere, and give the material a cohesive cinematic language during editorial development. The goal is not to replace the final DI process, but to help the film communicate more clearly during its earliest presentations.
Today, LUTs and camera transforms provide an important starting point, often representing the last shared visual reference between cinematographer and production. A temp pass becomes the next stage of that process, extending those early creative decisions into a more unified and watchable presentation while the film is still taking shape.
Working from that original visual foundation also gives directors and cinematographers time to absorb, refine, and better understand where they ultimately want the final image to land before entering full DI.
Our approach is rooted in carrying that visual philosophy forward, helping films maintain a confident and intentional image from editorial through picture lock and into finishing.
“Color grading is a balance of common sense and instinct, the subtle decisions that can elevate a film beyond expectation.”
— Diego Alex Borhello
ERIC M. KLEIN
Finishing Producer
A member of the Producers Guild of America and the Television Academy with credits spanning more than 100 feature films and 250 television and streaming episodes across scripted, documentary, and long-form series formats.
His work focuses on maintaining continuity of visual intent from editorial through final delivery—supporting color, VFX, and finishing workflows as they evolve, while keeping creative direction, schedule, and technical execution aligned through post-production.
Post Producer credits include:
The Masters Wait: Rory McIlroy (Amazon / Everyone Else)
Earnhardt (Amazon / Imagine Documentaries)
In the Arena: Serena Williams (ESPN+ / Hulu)
Goliath (Paramount / Showtime Sports)
They Call Me Magic (Apple TV+)
His short-form work includes Two Distant Strangers, which won the Academy Award® for Best Live Action Short (Netflix / Dirty Robber), and Create What’s True To You, a Billie Eilish–focused Adobe campaign that received a Clio Music Silver Award, where he served as VFX Producer for Drive Studios.
Earlier in his career, Eric worked on set as a Key Grip and Dolly Grip, collaborating with filmmakers and cinematographers including Julian Schnabel, Abel Ferrara, Tom DiCillo, Julien Temple, Hal Hartley, Nancy Savoca, Harris Savides, Nancy Schreiber, Bobby Bukowski, Frank Prinzi, Toshiaki Ozawa, Frank D. DeMarco, and Robert D. Yeoman. That foundation continues to inform his approach to finishing and visual problem-solving across post-production.
DIEGO ALEX BORHELLO
Senior Colorist
A Senior Colorist with over 20 years of experience in feature films, television, commercials, and documentary storytelling. He began his career in post-production as an online editor before transitioning into color grading, where a lifelong fascination with image control and perception, first explored as a child experimenting with television settings, became a professional craft.
His work collaborating with filmmakers spans a wide range of narrative and comedic features, documentaries, and streaming content.
DI Colorist credits include:
Heist (Netflix, directed by Derek Doneen)
Four Good Days (Indigenous Media, directed by Rodrigo García)
Have a Good Trip (Netflix, directed by Donick Cary)
Three Christs (IFC Films, directed by Jon Avnet)
Inherit the Viper (Lionsgate, directed by Anthony Jerjen)
Royalties (Roku, directed by Amy Heckerling)
Eddie Griffin: Undeniable (Showtime, directed by Gobi Rahimi)
Alongside narrative work, Diego also brings extensive experience in film remastering and restoration, giving him a deep technical understanding of both contemporary digital pipelines and photochemical source material. His approach to color is grounded in balancing the technical demands of exhibition—whether theatrical, broadcast, or streaming—with the emotional intent of the story, always in close collaboration with directors and cinematographers.