From epic blockbusters to intimate dramas, the  leading post houses and labs power 2025’s most anticipated screen stories. 

Cinelab Film & Digital has recently supported a number of major productions with both film and digital services. The company provided digital dailies and dailies colour services with HDR grade review and a custom ACES 2.0 workflow on Netflix thriller The Woman in Cabin 10, directed by Simon Stone and shot by Ben Davis BSC.  

Cinelab handled the processing and scanning for Yorgos Lanthimos’ Bugonia, shot in VistaVision on 35mm 8-perf film by Robbie Ryan BSC ISC.  On Die My Love, directed by Lynne Ramsay and shot by Seamus McGarvey ASC BSC ISC on 35mm and Ektachrome, Cinelab provided film processing, 4K scans, dailies and dailies colour. 

For Joachim Trier’s Sentimental Value, shot on 35mm 3-perf film by Kasper Tuxen DFF, Cinelab carried out 35mm processing and scanning.  

On Jay Kelly, directed by Noah Baumbach and shot on 35mm by Linus Sandgren ASC FSF, Cinelab handled film processing and 4K scanning.  

The company also provided digital dailies lab and dailies colour services on Now You See Me: Now You Don’t, the third instalment of the Lionsgate franchise.  

Digital Orchard’s onset technicians have been active across the UK, supporting a wide range of features, shorts, HETV and commercial projects. With regional bases nationwide, the team continues to offer flexible, location-based support for productions of all sizes. 

Recent long-form credits include Hamnet (Video), 100 Nights of Hero (DIT), Jay Kelly (Video), All The Devils Are Here (DIT and Data); The Conjuring: Last Rites (Video) and The Hack (DIT and Data). Short form and commercial work includes The Second Time Around (DIT), campaigns for Swatch (DIT) and the Women’s Euros (Data). 

The company’s Dailies division has also been busy, with recent lab work on 100 Nights of Hero, directed by Julia Jackman. The team also provided LTO archival for Harvest and Tornado. 

Orchard Film, in collaboration with partner Kodak Film Lab London, has recently processed and scanned a number of high-profile features including After the Hunt, Rose of Nevada, Harvest and Tornado. 

Dirty Looks has completed picture post-production on Lady, the feature debut from director Samuel Abrahams. Produced by MetFilm Production and starring Sian Clifford, the film was shot by Korsshan Schlauer and graded by Claire Winter on Baselight. 

Blending mockumentary and magical realism, Lady follows a lonely aristocrat who convinces a struggling director to film her every move. “We wanted to retain the feeling of magical realism — grounded in the real world but surrounded by vibrant colours,” says Winter. “Korsshan’s lenses had a nostalgic, grainy quality that suited the tone perfectly.” 

The company also delivered post on Broken English, an intimate documentary about Marianne Faithfull by artist filmmakers Jane Pollard and Iain Forsyth. Shot by Daniel Landin and graded by Gareth Bishop, the film mixes documentary and imagination, and features Faithfull’s final performance alongside Tilda Swinton, George MacKay, Courtney Love and Nick Cave. DI producer Agathe Boulous said: “Dirty Looks has a close relationship with Iain and Jane, having worked on many projects over the past decade. It was a joy to collaborate again and reflect their vision through the final grade.” 

ENVY has delivered extensive technical and post-production services on the returning Netflix series Love Is Blind: UK. Garreth Cook, location supervisor for ENVY Capture, oversaw one of the largest fixed-rig productions the company has managed — with 62 HD and 2 UHD streams running for up to 10 hours daily. “Before filming began, we carried out extensive kit testing to make sure everything would perform reliably on location,” says Cook. “We built a workflow with Frameworks that allowed us to record both main and backup copies without losing a single stream.” 

The team used Panasonic and Sony hothead cameras with Sony FX9s shooting HD XAVC 100, while master interviews were captured in UHD XAVC 300 for HDR delivery. “Every stream was recorded as an ISO, giving the edit team full flexibility in post,” he adds. Studio shoots ran without live-cutting, while location filming used PSC setups synced on set by Edit Assistants. 

Senior colourist Paul Fallon adds: “The series had a great mix of visual styles, from intimate talking heads to dynamic handheld footage. We aimed for a natural-looking grade that embraced the vivid set design and bold outfits. The tropical locations were a dream to work with — vibrant, warm and full of life.” 

Ben Ormerod, ENVY senior dubbing mixer, focused on sound design tailored to each environment. “The series takes place across very different locations and each space came with its own unique characteristics,” he says. “For example, the dating pods were filmed in a studio environment so my priority was controlling the reverb and shaping the acoustics to feel warm and intimate.” 

Harbor’s recent highlights include Good Fortune from Lionsgate, directed by Aziz Ansari, which completed dailies and picture at Harbor’s London studios with colourist Damien Vandercruyssenfor Amblin Entertainment. The latter also graded Chloé Zhao’s Hamnet, shot by Łukasz Żal PSC. Father Mother Sister Brother from Animal Kingdom, directed by Jim Jarmusch, featured colour by Joe Gawler. Luca Guadagnino’s After the Hunt, produced by Big Indie Pictures, was graded by Joe Gawler with dailies also by Harbor. And ISH from Primal Pictures, directed by Imran Perretta, was finished at Harbor with colour by Jateen Patel.  

The Look has completed full DI post on Netflix’s Ballad of a Small Player, directed by Edward Berger, with cinematography by James Friend ASC BSC. The grade was handled by senior colourist Andrew Daniel on DaVinci Resolve. 

“From the start, James and I knew we wanted this film to feel truly distinctive,” he says. “James was keen on evoking the vibe of an Ektachrome film print, so after some testing—and a cocktail of gate weave, grain, halation, and a mix and match of some custom LUTs—we landed on a look that let us shift the blues and reds we needed without losing vital detail. From there, it became about finesse: massaging in petrol blues in the lower end, adding warmth up top, and maintaining the slick, deep contrast we wanted—while always protecting skin tones with some very precise keys.”  

Company 3’s senior colourist Jill Bogdanowicz returns to the world of Oz in Wicked: For Good. Director Jon M. Chu and cinematographer Alice Brooks ASC envisioned a colourful look — but one more modern and nuanced than the classic three-strip Technicolor effect people associate with the beloved 1939 Wizard of Oz. 

“The differences are subtle,” says Bogdanowicz. “The first film focused on Elphaba, but this one spends more time with Glinda, so we wanted it to be just a little bit richer in colour and darker in places to reflect her environment.” 

VFX studio Framestore, Company 3’s sister company, also returned to Oz for the film. Led by VFX supervisor Jonathan Fawkner, the team brought its magic to Nathan Crowley’s sets, digitally extending iconic locations like the Emerald City, Munchkinland and Shiz University. New environments include Glinda’s world under the Wizard’s rule and Elphaba’s forest exile. 

Mission Digital has recently delivered a range of on-set and post-production support across several high-profile features and series, working alongside leading cinematographers and directors to maintain creative consistency from capture through to post. 

Among the most anticipated is Anemone, marking Daniel Day-Lewis’ return to cinema after an eight-year hiatus. Co-written and directed by his son Ronan Day-Lewis, the film brought together exceptional creative talent. Mission’s Joe Lovelock joined the production as DIT, collaborating closely with cinematographer Ben Fordesman BSC to ensure the project’s distinctive visual identity was preserved at every stage. 

Also set for major release is After the Hunt, a psychological thriller from Luca Guadagnino starring Julia Roberts in what critics are already calling one of her most powerful performances. Ivan Kadelburg provided video playback for the production, enabling Guadagnino and his team to have an instant, accurate visual reference throughout the shoot. 

For The Girlfriend, a taut thriller shot across the UK and Europe, Mission supplied digital dailies and video playback. The team supported cinematographers Paul Morris and Mattias Nyberg BSC, as well as directors Andrea Harkin and Robin Wright, with a streamlined editorial pipeline ensuring rushes were delivered quickly and reliably into post. 

Netflix’s Too Much benefitted from Mission’s full suite of production services, including Livegrade, data management, video playback and digital dailies. This comprehensive support helped ensure both continuity and security, allowing creatives to focus on storytelling while knowing all technical workflows were running smoothly in the background. 

Finally, Mission also contributed to The Running Man, supporting the action-driven production with expert data management and Livegrade services. A secure and efficient workflow was implemented to meet the demands of high-intensity filming, guaranteeing seamless handover into post. 

Residence Pictures delivered both colour and VFX post on the new BBC rom-com drama Film Club, co-created by and starring Sex Education’s Aimee Lou Wood and Ralph Davis, alongside Suranne Jones and Nabhaan Rizwan. Colourist and co-founder Paul Harrison handled the grade, while finishing artist Owen Hulme created the visual effects. 

“After early conversations with Jonas Mortenson, the DP on Film Club, we could tell we were going to have a lot of fun colouring this series,” says Harrison. “Each film club night became its own cinematic world, with a unique look that contrasted with the real world’s rich tones. We added grain, flares and tuned spectral accents to make the night scenes feel immersive and heightened.” 

Hulme adds, “Film Club was exciting to work on in terms of variety — from street clean-up and animating text messages to enhancing bursts of blood splatter. Each sequence had its own challenge and energy.” 

The team also completed picture post on Dreaming Whilst Black season two, following the BAFTA-nominated success of series one. In addition, it collaborated with cinematographer James Mather on 9 Bodies in a Mexican Morgue, delivering over 800 VFX shots including extensive set extensions and wound enhancements. The series premieres in the UK this autumn on BBC.