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

"Returning to The Look for the final picture post on 'The Gold', after a long and sometimes arduous shoot was, as always, a real pleasure.
From Thomas and Grace setting a beautiful grade for our pictures, Tom Boyle working wonders in the online and the whole team pulling together to deliver the final broadcast files was as smooth and satisfying an experience as ever.
For a producer nothing beats the security of knowing the final picture post is in the safe and reliable hands of such a great team"

Erik Alexander Wilson BSC
DIRECTOR OF PHOTOGRAPHY: LANDSCAPERS

"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."

Alasdair Flind
Exec Producer: TOP BOY

"Thomas and his brilliant team at The Look have become an integral part of Top Boy since the show first launched over 10 years ago. The Look have become one of the creative foundations upon which the show rests. The friendly and professional environment that The Look provides is a sanctuary in the post period. Of more importance is the role Thomas and The Look play in elevating the locations of London that form the main stage for the show - the grade is able to find the beauty and variety in the everyday streets and estates of East London. Thomas and Grace have worked with a variety of different directors and DOP’s over the years, striving to deliver their own vision and yet at the same time managing to retain a look that is ’Top Boy’. "

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
DIRECTOR OF PHOTOGRAPHY: HARD SUN, GAP YEAR, BUTTERFLY

"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.
"

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!"

Chris Croucher
Producer: WHITE LINES, THE INNOCENTS, THE HALCYON

"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!
"

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."

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

"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."