The suite may have an either a non-linear editing system (NLE) or linear editing system to control the source and record device. This may be internal to the color grading device, as in a Pandora's Pogle or Da Vinci's 2k or external, as in Da Vinci's TLC (telecine controller).
The suite may have equipment to read, log and insert into the video Kodak's Keykode. Keykode is bar coding that is placed at regular intervals on negative films to aid in identifying and counting of film frames. Evertz, Aaton and ARRI are three types of readers for telecine use.
The suite may or may not have audio post production equipment. This would be to monitor and if needed sync up the program audio to the video source if the sound was not on the film. An audio mixing console and other audio equipment such as effects devices may also be in the suite. The audio may be from the film soundtrack. The term MOS is used, on a slate, when a scene is filmed without sync sound or any sound. A clapperboard slate is used at the start and sometime at the end of scene to mark particular takes recorded during a production.
Some color suites are at video post production facilities that rent them by the hour for the transfer of TV commercials, documentaries and movies.
These color suites would have a client area behind the colorist. With the client present this would be called a supervised session.
SDC-2000 Spirit DataCine Film Deck, Lens Gate and Local Control Panel