"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 brought something different and spectacular to the grade on 3 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

"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

"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: Scrotal Recall

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

Rahul Verma

"We worked with the Look on all aspects of picture post for the movie ‘Altar’ ( aka The Haunting of Radcliffe House ). Dan Marbrook acted as our Post Supervisor, Alexis Haggar as vfx supervisor and Tom graded the picture. We found them to be an extremely helpful and professional outfit, that was prepared to go the extra mile for us and our film. I am looking forward to the next opportunity for us to work together again."

Nick Willing
Director: Altar

"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

"The Look provided a first class, professional service throughout the production process on our feature film BLOOD MOON. Their bespoke approach has enabled me as a producer to plan ahead. It has also meant as director I have been able to make early, informed, creative decisions. Producer Dan Marbrook was my first point of contact and advised me throughout. He was always on hand with pragmatic ideas for addressing project requirements. Finishing the film meant working with the creative talent of Thomas Urbye, Senior Colourist at The Look. His artistic approach was totally in tune with the project and his swift responses to fix and improve the picture were invaluable. And not forgetting Mark Maltby’s amazing knowledge and skills which meant excellent frontline work in grading and completing our film. Above and beyond the dedication and skill of the team at The Look and Lexhag, is the fact that as a producer director I have had the pleasure of dealing with a friendly and welcoming team."

Jeremy Wooding
Director: Blood Moon