"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

"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

"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 Halcyon, Jericho, South Riding

"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

"Thomas and the whole gang at The Look are a dream, they have been key in the overall look of 'The Halcyon' (no pun intended!). I was introduced to them this year and I will never leave as long as they will have me! Thomas has such a fresh attitude to the grade process, he really worked with us at an early stage to understand what we wanted and then again in post to really try and push the boundaries. It was such a collaborative process, but in the end he also listened and worked tirelessly to make the show what we wanted.
I also loved the online process with Mark Maltby - a true Online Editor genius, working hard in the art of detail that period drama requires. 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"

Chris Croucher
Producer: THE HALCYON, DOWNTON ABBEY

"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

"Criminal Justice looks beautiful, a contained colour palette at times doing as much storytelling as the dialogue and the score."

Vicky Frost
The Guardian