Post Production.

The footage is in the can and the hard part has only just started. A good edit is the difference between a film people watch to the end and forty thousand pounds of rushes nobody finishes. Our post-production team takes your raw material and turns it into something broadcast-ready, on a schedule you can actually plan around. We edit, grade, build the motion graphics, mix the sound and master the final file in our own suites on the Southbank, so you are not handing your project to a stranger and hoping for the best.

What post-production actually is

Post-production is everything that happens after the camera stops. It is the assembly of the story from hours of rushes, the colour grade that makes a corporate film feel like a corporate film rather than a holiday video, the graphics and lower thirds that carry your brand, and the sound work that lets people hear every word without straining. Done well, none of it draws attention to itself. The viewer simply watches, understands and remembers. That invisibility is the whole job, and it is harder to reach than it looks.

We handle scripted and corporate films, broadcast pieces, event recaps, podcast video, social cut-downs and the long-to-short repurposing that gets one shoot working across a quarter of content. Whether the source came off our own studio floor or arrived from a shoot elsewhere, the editorial process is the same.

How we deliver it

Everything runs through our in-house edit suites, which means your project does not get parcelled out to a freelancer you will never meet. You get a named editor, a clear cut order and a review process that does not leave you guessing. We start with an assembly so you can see the shape of the film early, before fine details soak up the budget. From there we lock the edit, then move into grade, graphics and sound as separate, deliberate passes rather than a rushed single sweep at the end.

Working on the Southbank, close to our studios, has a practical upside. If a shot is missing, a piece to camera needs a pickup, or a sequence needs a clean green-screen plate to drop a graphic behind, the studio is downstairs rather than a re-hire and another diary battle weeks away. Most of the panic moments in post come from something you wish you had captured on the day. Being attached to a working studio floor is how we close that gap quickly.

What you get

• A named editor and a defined cut sequence, from first assembly to locked edit
• Colour grading that gives the film a consistent, branded look across every shot
• Motion graphics, titles, lower thirds and animated brand elements built to your guidelines
• A full sound pass: dialogue clean-up, music, levels and a broadcast-standard mix
• Subtitles, captions and burnt-in text for accessibility and silent social viewing
• Versioning and cut-downs: the master film plus the social, square and short variants you need
• Final masters delivered to broadcast or web specification, in the formats your channels demand
• Clear review rounds with agreed feedback points, so revisions stay on track and on budget

Where it earns its place

Post-production is where a flat shoot becomes a film worth its budget. A product launch needs a hero film plus a fortnight of social cuts off the same footage. A conference leaves you with hours of stage recordings that have to become a tight, watchable recap by the following week. A leadership message needs a grade and a mix that make the chief executive sound considered rather than rushed. A regular podcast needs episodes edited, captioned and turned around on a rhythm, week after week, without the quality drifting. These are the jobs where a careful edit quietly does most of the work.

Why it beats the cheaper option

The tempting alternative is the cheapest editor you can find, a quote that looks great until the project is halfway through. Then the revisions creep, the colour does not match between shots, the audio sits too low in places and too hot in others, and the deadline you promised a board or a launch team starts to slip. A weak edit does not just look amateur. It quietly undoes the money you already spent getting good footage, because nobody watches to the end. Keeping editorial, grade, graphics and sound under one roof, with people who do this for broadcast, is how you protect the spend you have already made rather than gamble it on the finishing line.

Common questions

Can you edit footage we shot ourselves or with another crew?

Yes. A good share of our edit work starts from footage we did not shoot. As long as the rushes are usable, we can build the film. The honest caveat is that the edit can only work with what was captured, so if coverage is thin or audio was not recorded cleanly on the day, we will tell you early what is and is not fixable rather than discover it three rounds into revisions.

How many rounds of changes are included?

We agree the review structure before we start, usually an assembly review, a fine-cut review and a final sign-off, with defined feedback at each stage. That keeps revisions purposeful and the cost predictable. Open-ended tinkering is where edit budgets quietly run away, so we build the rounds in deliberately and flag clearly if a request goes beyond what was scoped.

How long does post-production take?

It depends on the length, the amount of footage and how much graphics and sound work the piece needs. A short social edit can turn around in days; a full corporate film with a bespoke grade and animated graphics takes longer. We give you a realistic schedule up front and keep you to a review timeline, because most slippage in post comes from feedback arriving late, not from the editing itself.

Do you handle subtitles and accessible versions?

Yes. We produce subtitles, closed and burnt-in captions, and the silent-friendly social versions that most viewers now watch without sound. It is far cheaper to build these into the edit than to bolt them on after delivery, so we plan for them as part of the cut rather than an afterthought.

If you have footage waiting to become a finished film, or a shoot coming up and you want the edit thought through before the cameras roll, come and see the suites. A short walkthrough of how we work, or a quick conversation about your material, costs you nothing and usually saves a good deal of guesswork later. We are happy to look at your rushes and tell you honestly what we can make of them.