Tom Balkwill began Dirty Looks in 2010 with a view to offering filmmakers a more tailored creative post production experience, in a unique high spec cinematic space. Specialising in colour grading and mastering of independent British feature films, Dirty Looks also collaborates with directors of commercials, music videos, documentaries, broadcast long form, short films and fashion promos
Our in-house FilmLight Baselight suites work in 4K Christie DCI Projection, Stereo 3D options and grade 1 Dolby HD monitoring. Visit our portfolio for examples of recent work.
If you are shooting Arri Alexa, Sony, Phantom or Red etc we can produce Avid / FCP files to cut from, then finish the film off the full res files. And we will back them up accordingly for you and your bond / insurance.
DCPs created from the Baselight’s outputs always look stunning. We generate DCDM XYZ TIFFs if required, and can create and review encrypted Digital Cinema Prints in our own theatre at 2K or 4K, and deliver on CRU, LTO-6 etc. KDM and DKDM encryption can be managed by our team, along with festival deliveries for both DCPs and any required keys.
Our 4K DCI grading theatre is Truelight calibrated and we get fantastic results mastering out to 35mm DI negative and print. We have collaborated with Deluxe for film recording and printing, grading in P3 on projects including Under The Skin, and have worked with several labs and film recorders in Europe
Our Baselight grading suites are available for hire by Colourists with their own projects, or Producers with their own Colourists. Colourists who have collaborated with us to date include, Adam Inglis (ex Framestore), Vanessa Taylor (ex Animal Logic) and Lee Clappison (ex Goldcrest).
Our Baselight system can also be re-located to your production, for example providing additional digital lab services for World War Z in Hungary and Glasgow, and for Pinewood Studios on Thor 2.
Most major codecs and file types supported, AS-11, h264, XDCam, MXF etc.