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HAL Picture

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HAL Picture

Informations de contact, plan et itinéraire, formulaire de contact, heures d'ouverture, services, évaluations, photos, vidéos et annonces de HAL Picture, Entreprise de logiciels, Paris.

07/10/2026

What if a look could solve more than aesthetic problems?
At Micro Salon 2026, we explored how parametric look development can do more than shape an image.

→ It sits at the center of the pipeline.
→ It turns intentions into controllable behaviours.
→ It can become part of storytelling.
→ It can survive SDR and HDR.
→ It can travel across cameras.
→ It can preserve an aesthetic across technologies.
→ And ultimately, it removes technical friction to leave more room for creation.

From Extra Lucide to multi-camera workflows and film restoration, the conference looked at how a well-designed look can help carry a visual intention throughout the entire production chain.

👉 Swipe through for the key takeaways.
🎥 Watch the full conference on our YouTube channel, link in bio.

30/09/2026

🎬 Stills from “Paolo”, directed by , now available on .
The series was selected for competition and presented at in La Rochelle.

🎬 Director: Sébastien Marnier
🎥 Cinematographer:
🎨 Colorist:
🔹 Post-production:
🔹 Production: Mintee Studios & Asacha Media Group

Explore your own palette with the HAL Picture toolbox
➡️ Link in bio

23/09/2026

🗣️ «Being more and more often involved in projects during the pre-production phase, I am naturally interested in any tool that offers different ways of image and color manipulation than the existing and familiar ones. »

For this new Creators’ Take, we spoke with colorist and lecturer Dirk Meier, whose work spans feature films and documentaries including Lars von Trier’s Antichrist, Sebastián Lelio’s A Fantastic Woman and most recently, Kleber Mendonça Filho’s The Secret Agent.

He first came across Diachromie & Diaphanie through a look development presentation at Camerimage. A few months later, he got the opportunity to put them to work on Gabin, a documentary following its main character over ten years.
With footage coming from different cameras and periods, the challenge was not to impose a strong aesthetic, but to build a consistent visual language across the film.

What began as a first trial didn’t stop there: since Gabin, Dirk has used both tools across several other projects, from pre-production look development to final grading.

Swipe through to discover his approach to look development, his work on Gabin and what stood out to him about HAL Picture’s parametric workflow.

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17/09/2026

Throwback to 2026

A few intense days in Amsterdam filled with demos, interviews, passionate conversations, new connections… and a first opportunity to share what we’ve been working on behind the scenes.

This year, we gave a first glimpse at the next extension of the HAL Picture ecosystem: Dia² and Dia² Lite, two new tools currently in development.
Two new ways to build a look, designed around different workflows and levels of control, while staying true to the same HAL Picture philosophy and color science.

We also had the chance to exchange with a wide range of people across the industry, from producers, DITs and DOPs to technology manufacturers, software companies and major streaming platforms, as well as teams from and , who stopped by for a closer look and a conversation about what’s coming next.

Thanks to everyone who stopped by, tested the tools, shared feedback, asked questions and challenged us along the way!

More details coming soon ahead of their official release.

09/09/2026

🎬 Stills from “L’Inconnue”, Arthur Harari’s latest feature, selected in Competition at Cannes 2026, presented at TIFF 2026 and winner of the 2026 Prix Jean Vigo.

Gadiel Bendelac crafted the film’s visual identity with and , building a palette that feels both grounded and cinematic.

🎬 Director: Arthur Harari
🎥 Cinematographer: Tom Harari
🎨 Colorist: Gadiel Bendelac
🔹 Post House:
🔹 Production: and To Be Continued

Create your own palette with our toolbox
➡️ Link in Bio

01/07/2026

🧠 Today in Decoding Nerdy Stuffs: DRTs
We just dropped Part 1 of an in-depth series on Display Rendering Transforms for cinema, and we went all the way down the rabbit hole.

Fair warning: this isn't a 30-second scroll. It's the grab a coffee, block out an hour, actually understand it kind of read.
Swipe for what's inside and then if you've got the time and the curiosity, the full article is waiting.

For colorists, DITs and the color-curious who want the real mechanics, not the hand-wavy version.

📖 Full article → link in bio
➡️ Part 2 (display characteristics) coming soon.

17/06/2026

🧰 Palette Maker is part of HAL Picture’s Toolbox — a suite of free tools designed for creators and filmmakers.

Upload a still, pick your colors, adjust your patches, fine-tune the layout, add text elements, then download your palette and show it off!

Simple, free, and made to help you craft better visual references.
👉 Try Palette Maker now via HAL Picture’s Toolbox - Link in bio.

03/06/2026

🎬 Stills from “De Gaulle: Tilting Iron ", a movie available in theatres today.

Recreating the visual atmosphere of 1940s France isn't just a technical challenge, it's a creative statement. built this look with and , and the result speaks for itself!

🧑‍🎨 Directors : Antonin Baudry
🎥 Cinematographer : and Pierre Cottereau
🎨 Colorist :
🔹Post House :
🔹Production :

Create your own palette with our toolbox
➡️ Link in Bio (www.toolbox.hal-picture.com/palette)

28/05/2026

🎞️ Look Deep Dive — Too Many Beasts

For Too Many Beasts, selected at — 2026, the look started from Super 16 references, then moved into more unexpected territory.

Together, Noé Bach, .vigor.5 and used Diachromie and Diaphanie to shape a dense, organic image: cooler greens, controlled skin tones, visible roughness, and grain that evolves with the emotional rhythm of the film.

➡️ Swipe to dive into the look development process.

26/05/2026

🎞️ Look Deep Dive — Congo Boy
For Congo Boy, selected at Un Certain Regard — 2026, the look had to be built before the shoot, then evolve directly on location.

Shot in the Central African Republic with a small crew and no on-set dailies processing, the film required a visual framework that could rely on day after day, while adapting to radically different lighting conditions.

With Diachromie and Diaphanie, he developed a Sony VENICE look inspired by film stock, then kept refining it throughout the shoot — from warm red earth to vivid household lighting, without losing the film’s intent.

➡️ Swipe to dive into the look development process.

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