The Look Gets Genetically Engineered

Soho-based post boutique The Look has gained a massive improvement to its throughput by extending the capability of its Quantel eQ finishing system with the addition of a Quantel Genetic Engineering system.
Set up by ex-MPC colourist, Thomas Urbye in 2006 around the Quantel eQ, The Look has built itself an enviable reputation for high-end commercials post with work such as the recent Fiat 500 launch campaign and finishing for online video content for major brands such as Guinness and Mercedes.
The addition of the Genetic Engineering infrastructure is the result of Urbye's desire to extend his reach further into the longform post business.
Urbye said: "It's a really tough market out there and business plans which rely on major capital investments and large staff increases simply don't add up. But with Genetic Engineering it's simply a matter of adding more storage (now 18 hours' of un-compressed HD) and a Max assist station alongside my eQ, and I have the ability to work on two projects - or different aspects of the same project simultaneously.
"I estimate that this has enabled me to do 40% more work per day, and to take on the kind of longform projects that I simply couldn't have considered before for risk of impacting on my commercials work."
Typical of The Look, its recent ventures into longform are with high profile, high production value projects.
Zeppotron's (part of Endemol UK) forthcoming six-part drama 'Dead Set' written by Charlie Brooker and directed by Yann Demange for E4 and Ricky Gervais's' movie 'This Side of the Truth' are both currently going through the facility.
Urbye said: "I can be conforming or playing out one episode or a reel from a film, while simultaneously grading another. It's a much more productive use of my time. The only down-side is that I now don't have an excuse to take a break from the suite!"
The addition of Genetic Engineering has also increased The Look's collaborations with co-located VFX house DEAD Ltd. Urbye reported: "They will now work on slotting in VFX shots into the cut on Max while I continue grading on the eQ. It's all about doing more, eliminating risk and getting clients' work done on time and in on budget."
(KMcA)