We understand the true value of colour grading, its partnership with finishing, the connection with the audience and the transformation that beautiful colour grading can give – and we do it for clients all over the world.

We work closely with Cinematographers and Directors from mood boards, references, camera tests through to delivering a look that can be carried right across shooting, VFX and into the final post production and grading.  It is this passion for beautiful images and close collaborations that ensures The Look stands out beyond any other UK post production company.

As projects become ever more complicated, the requirement for advanced tools for managing the logistics and flow of VFX shots, and their grading, becomes increasingly important.  Our role as Colourists means we liaise with both the creatives, but also the VFX supervisors and Post Producers to ensure communication is free flowing and Directors get the results they want across all departments as quickly as possible.

The Look has proprietary tools that enable lens effects, film grain, denoising, and complex VFX matte controls for detailed work for bedding-in advanced VFX shots.  This is combined with industry leading enterprise hardware for eight grading systems that play 4K realtime simultaneously across our range of beautiful suites.





Thomas started his career as an online editor and colourist at MPC Technicolor in 2003 where he worked on films such as ‘Troy’, ‘Shaun of the dead’ and ‘Corpse Bride’.  Then in 2007 he founded The Look. He is now regarded as one of the world’s leading colourists with over twenty years experience.  His work on grading work on ‘Landscapers’ in 2022 won him the RTS Picture Enhancement award, he was subsequently nominated with fellow Colourist Grace Weston for a RTS award in 2023 for ‘Somewhere Boy’.  Thomas’ grading work on TV includes award winners ‘Top Boy’, ‘Fleabag’, ‘Sex Education’, ‘The Sixth Commandment’ and many more.  You can view his showreel here



Andrew began his career as a colourist at Molinare, later moving on to Goldcrest.  Now considered one of the world’s leading colourists, his enviable credits include many major films and series, including ‘All Quiet on the Western Front’ (which won the 2022 Oscar for Cinematography and BAFTA Best Film) and Apple’s acclaimed drama series ‘Hijack’, directed by Jim Field Smith and lensed by Ed Moore BSC. Other drama credits include ‘Patrick Melrose’, ‘Giri/Haji’ and ‘Criminal Record’. Feature documentaries include Oscar nominated ‘Bobi Wine: The People’s President’, ‘If These Walls Could Sing’, ‘Be Water’, ‘Tell Me Who I Am’, the Oscar winning ‘White Helmets’ and the Oscar Nominated ‘Virunga’



Grace joined The Look in 2016, quickly pursuing a career as a Colourist.  Grace has now built her own loyal client base and developed her own bold visual style, now leading many series at The Look.  These have included ‘Sex Education’ S4, ‘Dinosaur’ and ‘Alma’s Not Normal’.  She has also worked alongside Thomas on many of the projects that have run through The Look.  You can view her showreel here



Ollie has been working with Thomas and Grace since 2017.  Ollie has been pre-balancing series for some time, and leading on his own episodes perodically.  He also handles the Dolby Vision trim conversions before final review by the client.  He has an affable and easy going style which always puts clients at ease.



Sam joined The Look in 2019.  Sam handles a lot of the HDR to SDR Dolby Vision trims as well as working closely on the grading of VFX shots as they come in on various projects.  His calmness, keen eye for detail and methodical approach means he is an asset to any project.