Post and vfx outfit, Electric Theatre Collective, is investing in its Whitechapel studio as the company pushes further into long form work.

Luke Morrison (Head of Colour), Oliver Whitworth (EP) and the ETC team worked on a growing number of long-form projects in 2021 ranging from Jake Scott’s seminal Oasis Knebworth 1996 documentary to BBC drama In My Skin (Season 2) directed by Molly Manners. The team completed grading and online across a range of film projects with more lined up for 2022.


Now Electric, best known for its commercials work, is investing “heavily” in the setup of its new Whitechapel studio. Bespoke suites have been designed along with a dedicated cinema screening room (“in the pipeline”) for reviews. Electric has also bought new Sony monitors capable of HDR in line with delivery requirements for streamers including Amazon, Netflix, Apple as well as an elite projector screen in their hero colour suite. New Flux Store storage has been added to increase rendering speed and capacity.


The colour team has also expanded to offer online editing services for all longform projects.


Luke Morrison said: “Electric already offers film scanning for 35 & 16mm film at reduced costs to help the creative approach of directors and DOPs, and support those who love film the way our colourists do. It ties into our general ethos for longform, as our approach is to invest creatively in these projects. The top line budget is always secondary to the creative for colour grading.”


Electric is home to grading talent including Luke Morrison and Jason Wallis, rated respectively second and ninth in Televisual’s Commercials 30 Best Colourists poll.

Jon Creamer

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