Erik Alexander Wilson BSC

"I had already begun creating my own looks during prep, and was able to show Thomas & Grace what we were looking to achieve. Both myself and Will were keen that the grade and online could happen simultaneously, due to the nature of the complex blending transitions and multiple camera formats and effects. We were able to further control the Three-strip & Two-strip looks in the final grade; often the 3-strip effect would push the reds too far, so we had to refine them as needed. Once the main grading passes were done and it was just VFX outstanding, I was able to travel abroad and review episodes via an iPad Pro using The Look’s Moxion system. Here I could make notes, review Will’s comments and reply, and even draw shapes on the screen! From our initial meeting through to final review, I was delighted with the collaboration we had with the team at The Look."

Phoebe Waller-Bridge
Writer: Fleabag 1&2

"The Look took such great care of us. Beyond their levels of perfectionism and professionalism the team have created such a friendly place to work and the passion for their clients is palpable. It became a second home where we could work late, eat all their biscuits, ask people for their input through the edit, and trust that our show and our DP Tony Miller’s vision for the final picture will be brought to the level of excellence that Thomas has become so known for. Thomas is an artist and I feel very lucky to have worked with him and Grace on both series of Fleabag. We will be BACK! (If they’ll have us)."

Rina Yang
Director of Photography: Top Boy S3

"We were delighted when we graded Top Boy with Thomas - his grade elevated the look of the show, and I was particularly impressed by his way of shaping the image to draw attention to the part of the scene that supported the narrative of the episode.
His team at the look are very thorough and dedicated, there are many things I could mention, but one in particular was they made the HDR/SDR process seem painless for us, which sounded like a daunting task in the beginning!"

Joe Anderson
Director of Photography: Persuasion, Top Boy 3

"Bringing back Top Boy was a crazy challenge. How do you maintain the show’s original credibility while simultaneously opening the story up for a larger platform? Luckily for me I had a secret weapon, Thomas Urbye. Thomas has been with Top Boy since the beginning. His pride and imprint on the show was evident from our first conversation. His artistry allowed for quiet moments in council blocks to be beautiful, for colorful forests in Jamaica to be frightening and for intense moments of violence to have an undercurrent of regret.
Backing up these creative efforts is the technical capabilities of The Look, making it possible to seamlessly translate our creative intentions into multiple delivery formats that will go out to 190 countries on launch day.
On my latest project, Persuasion, The Look were able to supply me a fantastic grading LUT/LMT for our shoot, which Ive used on other projects subsequently as I loved it so much!"

Si Bell

"Working with The Look and grader Thomas Urbye on Hard Sun was a really great experience for me. The Look is a really fun creative place to grade, with a great atmosphere and a real individual personality. Thomas Urbye is my favourite colourist in London."

Farren Blackburn
Director: The Innocents, The Fades

"I’m a huge fan of genre filmmaking largely because it allows you to hold a magnifying glass up to everyday issues but examine them in a bold and ambitious way, but high-concept ideas are nothing if not grounded in character. My ambition for The Innocents was to create a cinematic landscape whilst establishing a sense of truth. Could we make the audience believe what was happening as part of the ongoing drama despite the high-concept idea at the heart of the story. For this it was important that we created a look for the show based on natural light but pushed to hint at something slightly other, inspired by the natural world but taken a step further. What we shot was stunning, but when my DP David Procter and I stepped into the grade and began to work with Thomas Urbye at The Look, the visual aesthetic went to another level. The scope of possibilities grading in HDR was incredible, but it was the subtle nuances we achieved that impressed me the most, I’m both incredibly excited and proud of the end result whilst grateful beyond words to The Look for guiding us through the process.

Jamie Campbell
Exec Prod: Sex Education

"The Look has given us world-class boutique service on multiple projects. They’re collaborative, they go the extra mile, and the results are always of the highest standard. "

Jonathan Van Tulleken
Director: Top Boy 2, Aliens, Gap Year

"The Look is a fantastic place with a great colourist in Thomas Urbye at the helm. Far beyond a technician, Thomas is a genuine artist and every time he has brought something different and spectacular to the grade on four remarkably different projects. This incredible passion, expertise and diligence runs through the entire company. DPs and Producers I've taken there have also always felt similarly enthused. I can't wait to take my next project there."

Chris Croucher

"The HDR process was very exciting for me, it’s always fun to be the first production doing something new on UK soil, but both Netflix and The Look held our hands to guide us through the unchartered waters.
The whole process has actually been really easy and I know this is mainly because we have had the right people on the job. Everyone in our post team has run with the challenges, bringing new ideas, workflows and systems to deliver exactly what Netflix required.
As I sit and watch the final grade I am blown away by how great the HDR is. David Procter DoP has worked with Thomas Urbye to embrace this new technology and make The Innocents look like nothing currently coming out of the U.K.
I also loved the online process with Mark Maltby - a true Online Editor genius, working hard in the art of detail that Netflix require. Their boutique hands-on experience allowed me to feel that making TV in Britain can stand above the norm, ‘The Look’ team are always trying to emulate that international feel, I cant wait to work with my Post family again
Exciting times!

Chloë Thomson

"The grade at The Look has always really helped to enhance my lighting, and has brought the work of the design, costume and lighting departments together beautifully. Grading with Thomas at The Look has always been an absolute pleasure. "

Charlie Leech
Producer: Loaded, Lovesick, The Aliens, Intelligence

"Working at The Look is always a pleasure. Thomas' grading work is both bold and distinctive while at the same time fitting in with the programme makers needs and never taking over the integrity of our productions. The whole team are hardworking and conscientious and add to the enjoyment of the post production process."

John Alexander
Director: Quirke, Trust Me

"What I enjoy about working at The Look is that I know Thomas will create a grade that is distinctive, but first and foremost, I know it will serve the story."

Brian Kirk
Director: HARD SUN

"Thomas Urbye has an artist's eye and the technical skillset of a master craftsman. He manipulates colour and light with confidence and sensitivity, always in the service of story. He is bold and subtle in equal measure with a wonderful awareness of each individual frame and how they all add up aesthetically, emotionally and tonally. He is equally comfortable taking close direction or working independently, whether adding to or refining the existing vision of the film-makers. THE LOOK is an outstanding experience and a lot of fun!"

Susan Breen
Producer: Requiem

"The post process on Requiem was an all-round fantastic experience, due in large part to the wonderful team at The Look, who provided us both with our cutting rooms, and an absolutely top-notch grade and online. Thomas is a superb colourist who was key to honing the gorgeous, distinctive look we wanted for the show, and Mark Maltby, The Look's tireless online editor, worked incredibly hard on every last detail, as did The Look's whole team, who manage to provide the perfect combination of boutique service, and ability to deliver no matter how tough the deadline. I look forward to returning to The Look with my next show."

Jess Rundle & Nicki Gunning
Post Supervisors: White Lines, The Innocents, The Halcyon, South Riding

"From a post supervisors perspective The Look have always been totally professional and a joy to work with creatively and on an operational level. Their boutique outfit allows for a tailored picture post production process, which is both flexible and sensitive to increasing budget constraints, whilst maintaining unprecedented attention to detail in their grading, online and finishing environments. We are looking forward to being part of their family again very soon."

Tony Miller BSC

"Thomas is simply one of the very best colourists in the UK and by default worldwide. I appreciate his intelligent, creative input throughout the process. I totally trust him when I can not make the grade and he has become a key collaborator. We usually work on defining a look in prep, shooting tests and refining a basic LUT, which we integrate via my DIT in to the onset dailies. It makes the final grade more focused, with a collaborator who understands the basic visual sub text.

Thomas had worked on 'Quirke' (BSC Best Cinematography award winner), 'Spotless' a ten part series for Netflix and 'Fleabag' in HDR 4K for Amazon Studios and BBC, winner of multiple awards including RTS Best Cinematography nomination, Critics Circle and Broadcast to name but a few.

The Look have been pioneers in 4K HDR and have become the 'go to’ post house for 4K HDR, endorsed by Amazon Studios."

Tat Radcliffe
Director of Photography: Criminal Justice 2, Dead Set & Top Boy

"I've had the pleasure of sitting for many weeks at The Look, grading with Thomas in a darkened room watching him work his magic on 'Dead Set', 'Criminal Justice 2' and 'Top Boy'. Not only a very talented grader but extremely knowledgeable about the technical side of his craft."

David Blair
Director: Accused 2, Bert & Dickie

"When it comes to the picture grade, I do what I can to ensure that my work ends up at The Look. Here, I know I will enjoy an unparalleled level of application, dedication and creative proficiency. I don’t want what I do to be treated as ‘just another job’ so it’s important, therefore, that I can rely on Thomas and his team to be custodians of the film’s aesthetic well-being – and this they’ve always accomplished with great aplomb. However, achieving that final graded picture, can often be delicate, contentious, exuberant; and with such emotional diversity, social skills can at times be as important as the artistic ones. At The Look you get the best of both worlds."

Kieran McGuigan BSC
Director of Photography: Desperate Romantics, Whitechapel 3, Bert & Dickie

"Often when the DoP is experimenting with the light, the colourists don't appreciate the physicality of that light, they don't understand what you were trying to achieve. When I work with Thomas he has that natural instinct, he appreciates what the lighting is trying to achieve and understands it, even augments the passion of that light and by doing so creates breathtaking images."

Jon East
Director: Whitechapel

"Grading Whitechapel at The Look was one of my most satisfying and exciting experiences of recent years in picture post. The work put in did far more than maximise the potential of already exquisite rushes, it worked to significantly advance the narrative drive of the drama and engage the audience more deeply with its emotional canvas. Put that together with highly agreeable surroundings and personnel who always go the extra mile and one has in The Look a very winning combination."