Capabilities

Everything Bradford Lab helps you do.

The platform is focused on the operational parts of post-production that create real downstream risk when handled loosely — especially across teams, vendors, and delivery partners.

Automated Technical Checks

Run codec, loudness, resolution, metadata, and standards checks before a file gets shipped. Agents validate against delivery specs automatically.

DCP

DCP Review

Inspect structure, validate reels, review naming, and support playback workflows for cinema delivery. Full SMPTE and Interop compliance checking.

DEL

Deliverables Control

Track versions, package outputs, and keep every delivery tied to the right spec and status. Version history and delivery state in one place.

REV

Review & Approval

Keep notes, approvals, and delivery readiness in one workflow instead of scattered threads. Frame-accurate timecoded commenting.

AGT

Operational Automation

Use software agents for repetitive validation and coordination work while people stay in control. Agents run checks, surface issues, and keep state current.

Post-Specific Assistant

Ask practical questions about specs, formats, captions, loudness, DCPs, and delivery troubleshooting. Built with deep post-production domain knowledge.

INT

Professional Integrations

Connect the workflow to storage, review tools, and finishing systems your team already uses. Frame.io, Dropbox, Google Drive, and DaVinci Resolve integration.

SEC

Production Security

Keep access scoped and controlled for sensitive work, pre-release assets, and client review. Organization-based access control with encrypted storage.

Domain Knowledge

Built around real finishing edge cases.

Bradford Lab understands the kinds of details that actually break deliveries:

That a DCP with mismatched reel dimensions needs per-reel scale and pad, not a global resize
That BWF timecode tells you where a file starts, not where content aligns — you need cross-correlation to verify
That EBU R128 loudness is measured after the "Summary:" line, not from the per-frame output
That ProRes 4444 XQ in a QuickTime container handles alpha differently than ProRes 4444
That subtitle entryPoint plus duration can overrun a reel boundary in multi-reel DCPs
That ISDCF naming conventions encode content type, aspect ratio, audio format, and resolution in a specific order
That "Rec. 709" in metadata does not guarantee correct gamma — you need to verify the transfer characteristics
That an audio stem delivery with mono WAV files needs proper channel grouping, not 48 individual tracks

Who It's For

Teams with real delivery pressure.

Post Supervisors

Reduce follow-up work and keep delivery state visible across projects.

Producers

Get clearer status on what is approved, what is pending, and what is at risk.

Editors & Colorists

Validate masters before they leave your hands and avoid preventable delivery mistakes.

Distributors

Get cleaner handoffs, clearer delivery readiness, and fewer technical surprises downstream.

Independent Filmmakers

Handle festival, streaming, and accessibility deliverables with more structure and less guesswork.

Remote Teams

Keep distributed collaborators working against the same requirements and review state.

Forward-Thinking Facilities

Add a better operational layer around your finishing pipeline without rebuilding everything.

Ready for a better system around finishing?

Request early access to Bradford Lab.

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