"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.
"

Farren Blackburn
Director: The Innocents, The Fades

"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!
"

Chris Croucher
Producer: THE INNOCENTS, THE HALCYON

"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."

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

"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."

Si Bell
DIRECTOR OF PHOTOGRAPHY: HARD SUN, GAP YEAR, BUTTERFLY

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

Chloë Thomson
DIRECTOR OF PHOTOGRAPHY: THE LONG SONG, REQUIEM

"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."

John Alexander
Director: Quirke, Trust Me

"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!"

Brian Kirk
Director: HARD SUN

"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."

Susan Breen
Producer: Requiem

"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."

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

"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."

Charlie Leech
Producer: Loaded, Lovesick, The Aliens

"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."

Tony Miller BSC
DIRECTOR OF PHOTOGRAPHY: FLEABAG, QUIRKE, SPOTLESS

"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."

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

"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."

David Blair
Director: Accused 2, 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."

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

"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."

Jon East
Director: Whitechapel

"The Look were brilliant on Swung, professional, quick and completely dedicated to the project, I couldn’t have been happier. A great experience all round."

Colin Kennedy
Director: Swung

"Working at The Look was an absolute delight from start to finish; accommodating, friendly, but most importantly a very talented bunch - they even pretended to like me. I’m definitely going back."

Elliott Hegarty
Director: Lovesick, Loaded

"Top Boy is much more than a bleak, kitchen-sink drama – it’s beautifully shot, unhurried and uses colour imaginatively and subtly"

Rahul Verma
Metro

""Top Boy series 2 which sounds like London's answer to The Wire, looks like Blade Runner, and makes the best use yet of Ashley Walters’s hooded, handsome, sphinx-like menace.""

Nick Curtis
Evening Standard

"One of the major strengths of ‘The Fades’ is the way it has been filmed, the cinematography enhances the quality of the storytelling. The scenes where Polus’ was hunting for Paul proved to be incredibly vibrant and it felt as if the viewer was experiencing everything with him. The colours were vivid and the sounds were distinct. Even if it was just the wind blowing the fabric of an umbrella, there was a real sense of Polus’ resurrection. When the writing can match the standard of the camera work it makes ‘The Fades’ one of the best science fiction and fantasy programmes on television at the moment."

Neela Debnath
The Independent