This month, we are spotlighting London-based post production facility, Residence Pictures, and their recent remarkable picture finishing work
Residence Pictures is an award-winning post production facility in London with a sole focus on providing picture finishing across high-end scripted episodics and features. This month, we delve into their recent finishing work on The Revenge Club, Film Club, Nine Bodies in a Mexican Morgue, and Lynley.
The Revenge Club – Paramount+
Residence Pictures crafted both the colour grade as well as the online and finishing work on Paramount+’s darkly comic six-part series The Revenge Club, produced by Gaumont.
The series stars Martin Compston (Line of Duty, Mayflies), Aimée-Ffion Edwards (Slow Horses, Peaky Blinders) and Meera Syal (Mrs Sidhu Investigates, The Kumars at No. 42), and is adapted for television by Gabbie Asher.
With its mix of dark humour, emotional volatility and spiralling chaos, The Revenge Club demanded a finishing approach that could support both its tonal sharpness and narrative escalation. Residence Pictures’ contribution helped shape the series’ modern, mischievous and cinematic aesthetic.
Finishing Artist Ben McIlveen collaborated closely with Director Tim Kirkby to refine the visual language of the episodes.
“Revenge Club has been a joy to work on. Tim had a clear vision of what he wanted to achieve in the online, and this involved beauty work, clean-up and compositing to small visual tweaks of a shot, all to tell the story more effectively.”
Ben McIlveen, Finishing Artist
Film Club – BBC
Residence Pictures’ Colourist and Co-founder Paul Harrison delivered a textured and thematically rich grade on the rom-com drama series Film Club for the BBC, while Finishing Artist Owen Hulme created the VFX shots in the online. The series is co-created and written by Sex Education’s Aimee Lou Wood and Ralph Davis who also star in the series with Suranne Jones and Nabhaan Rizwan, and is produced by Gaumont UK.
“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 Paul. “Although several scenes unfold on suburban streets, this didn’t restrict our license to enhance the grade. Instead we used this to heighten the contrast of the daytime and nighttime scenes. Each film club night became its own cinematic world, with its own unique look that was different from the rich tones of the real world. We really leant into the tactile characteristics of film, adding grain, flares, etc. and overlaying them on the anamorphic footage from the Alexa to pull the viewer deeper into the cinematic experience. The shadow detail, saturation shifts and spectral colour accent were tuned carefully so that the nighttime shots in particular felt vivid, immersive and heightened compared to the grounded palette of daylight.”
Paul Harrison, Colourist and Co-founder of Residence Pictures
“Film Club was exciting to work on in terms of variety. There was a great mix of shots to work on, from clean up on the street outside Evie’s house, to finessing film projections, animating text message interactions and enhancing bursts of blood splatter. The work was dynamic and each sequence had its own challenge and energy.”
Finishing Artist Owen Hulme
Nine Bodies in a Mexican Morgue – MGM+/BBC
Residence Pictures collaborated with BAFTA-winning cinematographer James Mather (Velveteen Rabbit) on Nine Bodies in a Mexican Morgue – described as being ‘like Lost, but creepier’, the star-studded series premiered on MGM+ in the US and will premiere in the UK this Autumn on BBC. Residence Pictures’ scaled up their VFX offering to perform a vast quantity of set extension work to compliment the incredible sets production had created, delivering over 800 VFX shots, as well as clean up and wound enhancements.
Lynley – BBC1
Residence Pictures also worked on the new series Lynley on BBC1. Paul Harrison crafted the grade, while Owen Hulme provided the online edit.
Set against the wide skies and sunlit landscapes of the Norfolk countryside, Lynley uses its locations as a central part of its visual identity. Beneath the surface beauty lies a darker narrative, and the grade balances warmth and openness with a subtle sense of tension. Building on the strong foundations laid by directors Ed Bazalgette and Stewart Svaasand, and working closely with DOPs Peter Robertson and Ken Byrne, the grade preserves natural skin tones, carefully shapes the greens and blues of the landscape, and controls contrast and shadow.
The result is a refined, contemporary visual language that honours the series’ heritage while adding renewed depth for this new chapter of Lynley.
