Post-production teams are shaping 2025’s biggest films and TV series, delivering expert colour grading, VFX and finishing touches to create stunning, immersive visuals for global audiences. 

Company 3 had a strong start to 2025, with high-profile projects recently posting at an assortment of the company’s studios in the US, Canada and the UK. Work has been completed on the popular and critically acclaimed The Last of Us for HBO (MAX), set in the aftermath of a global pandemic. As with the first season, senior colourist Stephen Nakamura reveals, the show’s cinematographers are “really pushing the way they use colour for the series. They are definitely making bold choices on set and then we can make refinements in the grade, but the results are perfect for the mood of the show”. 

Additionally, senior colourist Tom Poole has been overseeing grading for the new season of The White Lotus (also for HBO). The third instalment was filmed in Bangkok, Phuket and Koh Samui February to August 2024. For season three, director and creator Mike White set gave cinematographer Xavier Grobet and the design teams a different palette to work with, which offered Poole (who took over work on the series from Company 3 senior colourist/CEO this season) an opportunity to bring a unique approach to the grade in keeping with the environment. Meanwhile, senior colourist Yvan Lucas has been working with the filmmakers on the Walt Disney Company’s eagerly anticipated live-action Snow White, from director Marc Webb. Shot by multiple-award-winning Mandy Walker AM ASC ACS (Baz Luhrmann’s Elvis, the action-packed live-action Mulan), the work promises to bring an exciting new look to the beloved, timeless tale.  

Dirty Looks handled the colour grading for the gripping Indian drama Santosh, with Gareth Bishop using Baselight for both the grade and mastering. He recalls that in discussions with director Sandhya Suri, the goal was clear: to create a raw, immersive realism that pulls the audience into the film’s world. 

“We focused on having the colours in natural tones, steering away from the usual surreal vividness of Bollywood films,” he explains. “We wanted viewers to feel transported to the Indian countryside with Santosh, keeping the highlights bright so the heat of the sun could be felt through the picture. Another key focus was enhancing the details of the costumes and fabrics. Traditionally, constables sew their own uniforms, resulting in a mix of fabrics from one officer to another. We wanted to draw attention to this detail, reinforcing the realism of the story and the atmosphere of the workplace.” 

Cinelab Film & Digital has been working on high-profile productions: A Thousand Blows, a six-part series from Peaky Blinders creator Steven Knight, explores illegal boxing in 1880s London. Starring Malachi Kirby, Erin Doherty and Stephen Graham, it launched in February 2025 on Disney+ and Hulu. Cinelab handled digital dailies lab services. Number 24 (NR24) follows a young Norwegian resisting the Nazis on the brink of WWII. Shot on 16mm and 35mm by Pål Ulvik Rokseth, Cinelab provided full-service picture post, including processing, 4K scanning, dailies colour and finishing colour by Darren Rae. Sister Midnight, a BAFTA-nominated punk comedy by Karan Kandhari, was lensed on 35mm by Sverre Sørdal FNF. Cinelab completed 4K scans and dailies colour. The company also provided digital dailies lab services for A Working Man and Gangs of London season three. “Whether working with film or digital, we’re committed to delivering the highest quality post-production services that help bring these incredible stories to life,” Cinelab says. 

The highly-anticipated fourth season of My Brilliant Friend (L’amica geniale), the critically- acclaimed HBO and RAI series based on Elena Ferrante’s novels, premiered in late 2024. Frame by Frame in Italy enriched the season with striking colour work, ensuring its visual identity stands apart from previous instalments. Set in Naples during the turbulent ’80s and ’90s, this chapter embraces the era’s distinctive aesthetic, immersing viewers in a world of bold tones and shifting atmospheres. 

“As colourists, we collaborated with DP Vladan Radovic to recreate the imprecise yet highly contrasting colours, saturations, tones and ranges inspired by television films of the period,” explains Andrea Baracca, supervising colourist at Frame by Frame. “The set designs—with their colours and textures highlighting the neighbourhood’s poverty—the use of smoke, a mix of natural and artificial lighting often in stark contrast and vintage Cooke S2 lenses all stem from careful research. The aesthetic balances roughness with softness, never self-centred, to create an authentic and engaging atmosphere that fully immerses the viewer in the story.” Marco Valerio Caminiti was also a colourist on the series. 

Cinesite served as the sole VFX vendor for the upcoming film Warfare, directed by Alex Garland and Iraq War veteran Ray Mendoza. Produced by DNA Films and distributed by A24, the film features approximately 200 VFX shots crafted by Cinesite. Set in 2006, Warfare plunges audiences into the heart of the Iraq War, following a platoon of American Navy SEALs stationed in an Iraqi family’s home as they monitor US troop movements through hostile territory. Shot in a gripping, documentary style at Bovingdon Airfield in Hertfordshire, the film offers an immersive and visceral depiction of modern combat. Presented in real-time and drawn from the memories of those who experienced it, Warfare delivers an unprecedented perspective on the conflict. 

UNIT Film & TV has been hard at work on two major projects. For Grantchester series nine, the team completed full picture post-production in collaboration with Kudos. Dan Coles served as the colourist with Siôn Penny handling online editing and VFX supported by Alex Antonio for additional online VFX. UNIT also partnered with Eleven Films on the new Paramount+ drama Stags directed by BAFTA-winner David Kerr alongside Giancarlo Sanchez and co-executive produced by David Cullen. The team delivered 300 shots across three episodes, excelling in CG work, invisible VFX and meticulous clean-up to maintain the highest standards of quality and authenticity. Key contributors included VFX supervisor Nuno Pereira, VFX artists Fraser Cleland, Alec Eves, Ian Baker, Rob Ellis and Andy Maddison. Creature supervisor Aritz Basauri led the full creature build while animation supervisor Brett Margules ensured seamless animation. Compositing was overseen by Bence Varga with 3D artists Corentin Maudhuit, Iñaki Gegundez, Aritz Basauri, Brett Margules and Kat Sokolska. Nuke artists Leire Eatock and Bence Varga also played a key role in the project.  

Post-production specialist and film and TV investor Hijack is expanding into the north east of England, establishing a new base in Newcastle. The Newcastle facility will provide DIT, dailies and video post-production support for productions filming in the area. With the north east emerging as a key hub for film and television, Hijack says it aims to support both local productions and incoming high-end projects. 

“There is so much talent in the north east and it’s an exciting time to be getting involved in the region’s growing film and television industry,” explains Alex Seery, technical director, Hijack. “We’re looking forward to working with productions in the area and contributing to the incredible creative energy here.”  

The company has also signalled plans for further expansion, reinforcing its commitment to growing the region’s post-production infrastructure. 

OnSight played a key role in the post production of two standout films from 2025, providing expert finishing, colour grading and sound design to bring each director’s vision to life. The Ballad of Wallis Island, starring Carey Mulligan, Tom Basden and Tim Key, this British comedy—directed by James Griffiths with cinematography by G. Magni Ágústsson—premiered at Sundance 2025. Produced by Baby Cow Productions, with Rupert Majendie leading production, the film was delivered in Dolby Vision and Dolby Atmos, with senior colourist Emily Russul Saib providing the grade. Dreamers, written and directed by Joy Gharoro-Akpojotor, with cinematography by Anna Patarakina FSF, premiered at Berlinale 2025. OnSight oversaw post from offline edit to final delivery, with senior colourist Andy Lee grading and senior online editor Adam Sample crafting its signature bold pink titles. Re-recording mixer Andy Coles completed the theatrical and 5.1 home entertainment mix. 

Having previously worked with Stuart Bentley BSC on Top Boy and The Gold, Thomas Urbye, senior colourist at The Look, says he “was very excited” when the former brought him and the team onto StudioCanal & A24’s We Live In Time, directed by John Crowley and produced by Guy Heeley. Featuring Florence Pugh and Andrew Garfield, the film’s non-linear storytelling captures deep emotional shifts. “Stuart aimed for a natural, cohesive grade without distinct palette changes between time periods, keeping the look authentic,” explains Urbye. “We focused on a classic aesthetic—preserving natural contrast, balanced skin tones, light digital grain and well-controlled highlights and shadows—to maintain a sense of realism. A key part of the process involved refining locations and subtly enhancing eyes through precise tracking, ensuring every detail felt organic. Grading for cinema meant any adjustments had to remain invisible, allowing the audience to stay immersed in the story.” 

Working in Blackmagic’s Resolve, The Look graded in LogC4 from the ARRI 35 with a DCI-P3 output. “Expanding to HDR for streaming was straightforward—it brought added richness to skies and skin tones while keeping the overall aesthetic intact, we just rolled off highlights” Urbye adds. “Minor midtone refinements ensured consistency and Stuart reviewed the HDR pass with fresh eyes, treating it as a standalone experience rather than comparing it directly to the theatrical grade.” 

Mission played a key role in the post-production of two major upcoming British drama series, providing essential digital dailies and DIT services. For Netflix’s Toxic Town, the company delivered digital dailies with Dan Price as the lab operator, alongside DIT services led by Al Marshal. The four-part drama is based on the true story of the Corby poisonings, one of the UK’s most significant environmental scandals. The series follows a group of mothers fighting for justice after their children were born with birth defects linked to mishandled toxic waste. On ITV’s A Cruel Love Story: The Ruth Ellis Story, Mission provided DIT services with Jerome Smith supporting the production. The four-part historical drama explores the life of Ellis, the last woman to be hanged in the UK, set against the backdrop of 1955 London’s nightclub scene and her turbulent relationship with racing driver David Blakely. 

Returning for a second series, the RTS and BAFTA-winning Am I Being Unreasonable? continues its darkly comic exploration of Nic’s chaotic life. Envy handled full post-production, ensuring visual continuity while refining the show’s distinctive style. “Series two picks up right where we left off and we wanted to maintain the same look and feel,” says senior colourist Sonny Sheridan. “The base grade is natural but leans into hyperreal, shifting warm or cold to heighten emotion.” Baselight’s Chroma Warp effect was used to subtly differentiate flashbacks. “We ensured the glossy feel of series one remained, while refining the mise-en-scène,” he notes. 

Digital Orchard‘s scan team, including head of scanning Dan Redrup and scanning Operators Timi Oladeji, Harry Wilson and Nora Pribek, meticulously scanned the entire 35mm Jurassic World Rebirth feature in 4K on their Scanity. “It was a true pleasure to scan this project,” says Redrup, “the team’s hard work paid off in a seamless and rewarding final result.” Orchard Film has recently surpassed a major milestone – scanning over 10 million feet of film. Other recent projects include campaigns for Burberry, Albert Moya for H&M, Central Cee x Raye – Moi, Jo Malone, JD Sports, and work for photographer Jack Davison. Elsewhere, from Mission Impossible: Dead Reckoning Part 2 to The Conjuring: Last Rites, Orchard Onset’s DIT, Video & Data technicians have provided expert on-set workflow management. Recent projects include Amandaland, The Hack, Brian and Maggie, The Agency S1, Unforgotten S6, and The Diplomat S3. Meanwhile, Orchard Dailies have delivered services for Black Doves, Say Nothing and LTO Archival for Mother’s Pride, overseen by head of dailies Joanna Rann.