ENVY Group Acquires Halo Group

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ENVY Group has acquired the Halo Group, uniting some of the UK’s most respected post-production and VFX businesses under one formidable banner. The move brings together ENVY, Capture, Absolute, and Blind Pig with Halo, Evolutions, and Relay to form the UK’s largest privately owned post production group.

“In a landscape that is shifting rapidly, the combination of ENVY and Halo is about securing a future where creative excellence isn’t compromised by scale or instability.

“It’s about resilience through unity”

Dave Cadle, CEO of the ENVY Group.

The new group will combine world class creative and technical expertise across every discipline from high-end drama, feature films, entertainment, factual, and documentaries, through to commercials, branded content, animation, and VFX. With robust capabilities in remote workflows, location services, and advanced VFX pipelines, the ENVY Group is promoting itself as a comprehensive, full-service production and post partner.

The acquisition also brings Halo co-founders John Rogerson and Alan Jones into senior leadership roles within the Group as well as some of the management team.

“This move isn’t about size for the sake of it, it’s about protecting what matters most which are people, talent and craft.

“We’ve built our business on shared values of creative passion and client trust. Together we are navigating change”

John Rogerson, Co-Founder of the Halo Group

“In times like these, our greatest strength remains the people we work with which includes talent and clients alike.

“The industry is under pressure, which makes it vital than ever to invest in our teams and nurture emerging talent. With our new space, we are not just expanding but we are creating an environment designed to inspire and collaborate. For us, this is about building a future where creativity has the room it needs to grow”

Natascha Cadle, Creative Director of ENVY Group

With a client roster that includes major streaming platforms, and leading broadcasters, the expanded ENVY Group expects continued growth in 2025 and beyond. The Group remains committed to ongoing investment in talent development, remote production technologies, and innovation in post and VFX. By uniting talent and infrastructure under one banner, ENVY Group is making a clear commitment to bolstering the UK’s creative ecosystem, ensuring it remains competitive and influential on the world stage.

One of Us Extends Its Global Reach with new LA hire

One of Us, the Emmy- and BAFTA-winning visual effects studio has appointed Adrian De Wet as Visual Effects Supervisor and Creative Director in Los Angeles.

With over three decades of experience, Adrian De Wet brings a notable portfolio of visual effects supervision on well-regarded films such as The Hunger Games franchise, The Meg, Hellboy II, Harry Potter and the Goblet of Fire and The Matrix Reloaded. A DGA Director and member of AMPAS, BAFTA, and the Visual Effects Society, Adrian’s experience bridges creative direction, on-set supervision, and post production excellence.

Adrian’s appointment is particularly meaningful given his long-standing relationship with One of Us founders Rachael, Dominic, and Tom. The group originally met while working together at CFC, which was acquired by Framestore in 1997, marking the beginning of Framestore’s film division. Together they have worked on several iconic projects over the years, even as far back as the iconic Guinness “Surfer” commercial and various titles within the Harry Potter franchise.

Adrian’s leadership and deep industry connections will be invaluable in building out a Los Angeles based team as One of Us continues to expand its global presence.

“Since the beginning, One of Us has been a key creative partner and collaborator to filmmakers and has built a reputation for excellence.

“Establishing a presence in Los Angeles is a strategic step in becoming a truly global creative force, giving us greater ability to expand our off ering to fi lmmakers and studios from the visual development phase right through post-production.”

Rachael Penfold, CEO of One of Us

“I’m absolutely thrilled to join the incredibly talented team at One of Us.

“Their creative excellence and distinctive visual approach have continually set them apart. Having admired their work for years, I’m excited to help grow the Los Angeles presence and collaborate with this visionary group to bring bold, inventive ideas to life for fi lmmakers worldwide.”

Adrian De Wet, Visual Effects Supervisor and Creative Director – LA

“We are delighted to welcome Adrian De Wet as we take our first step into Los Angeles.

“His expertise and close ties with our founders will strengthen our collaborations and help us deliver work of the highest calibre as we expand our creative reach.”

Balakrishnan R., Executive Chairman of the holding company

Union work smart for Mountainhead

Union completed their VFX work on Mountainhead in just four weeks from start to finish. The HBO Original film is written and directed by Jesse Armstrong; executive produced by Jesse Armstrong, Frank Rich, Lucy Prebble, Jon Brown, Tony Roche, Will Tracy, Mark Mylod, and Jill Footlick. 

Mountainhead follows a group of tech-billionaire friends who get together against the backdrop of a rolling international crisis fuelled by their own TRAAM social media platform . This was Armstrong’s feature directorial debut, an impressive feat with its incredibly fast and unique turnaround time.

Union got a call in February 2025 to provide VFX for the film, starting work two months later and delivering in May, a short 16 days before it premiered on HBO and HBO Max.

This was a challenge that Union Executive Producer & Co-Founder Tim Caplan was ready to accept. 

“The VFX work involved multiple digital matte paintings of snowy environment landscapes, additional snow, screen replacements and the opening sequence, consisting of a fully CG TRAAM building.

“Completing this work within a four-week post schedule was very ambitious, but we had full confidence working with Co-Producer Katy Bishop and Post Production Supervisor Robert Platt-Higgins, as we have successfully collaborated with them on previous projects.”

Tim Caplan, Executive Producer & Co-Founder, Union VFX

Close communication with On-Set VFX Supervisor David Van Dyke during the Utah shoot was essential.  The entire creative team worked together to ensure all of  Jesse Armstrong’s VFX requirements could be met within the timeframe. While the shoot was underway in Utah, back in London the Union team were providing previs/layouts for the big opening TRAAM shots.  This was incredibly beneficial for the efficiency of the project as it allowed Armstrong and Cinematographer Marcel Zyskind, to visualise and get a sense of scale ahead of shooting.

“We had to do things differently, such as work together to identify ‘safe’ locked shots that we could get cracking on while the shoot was underway.   The picture wasn’t locked until a week before delivery, so we were constantly on top of the ongoing changes and what those meant for the VFX. 

Flexibility and collaboration were vital for the success of this ambitious but very rewarding project. We had to work closely with the creative team to ensure the edit and VFX were in complete harmony.  Everyone was invested in finding solutions together to make sure we got there.”

Tallulah Baker, VFX Producer

Mountainhead was released on time on 31st May and received an EMMY nomination for Outstanding Television Movie.

All images courtesy of HBO

PHANTOM DIGITAL EFFECTS TO ACQUIRE AWARD-WINNING VFX STUDIOS MILK AND LOLA POST

Phantom Digital Effects Limited, the parent company of VFX studios Phantom FX, Spectre Post and Tippett Studio, announced today that it has entered into an agreement in principle to acquire Milk Visual Effects and Lola Post, award-winning European visual effects studios specialising in high-end episodic and feature film content. 

With offices across Europe – in London, Barcelona, Bordeaux and Dublin – Milk (founded in 2013 by award-winning VFX Supervisors Sara Bennett, Neil Roche and Jean-Claude Deguara) specialises in crafting innovative visual effects for high-end episodic television and feature films, while Lola Post (founded in 2000 by award-winning VFX Supervisor Rob Harvey) focuses on documentary, specialist factual, and original drama. Both studios have received multiple accolades for their work, including an Academy Award for Best Visual Effects for Ex Machina, four BAFTA TV Craft Awards for Troy: Fall of a City and the BBC dramas Jonathan Strange & Mr Norrell and Doctor Who, and a Creative Arts Emmy Award for Sherlock. 

Following the acquisition, the studios will continue to operate under the Milk and Lola Post names. Chris Burn will remain Group Managing Director, Sara Bennett, Neil Roche and Jean-Claude Deguara will maintain their positions as Chief Creative Officer, Deputy Chief Creative Officer and Production VFX Supervisor respectively at Milk, and Rob Harvey as Creative Director of Lola. 

The addition of Milk and Lola Post will bolster Phantom Digital Effects Ltd’s existing brand portfolio and award-winning offering, and continues to cement the Group’s position as a global creative partner of choice for the entertainment industry across key markets, including APAC, Europe and North America. It follows several key milestones in the Group’s journey, including the addition of Tippett Studio and the launch of Spectre Post in 2024, and the recent establishment of Phantom China earlier this year. 

“We are excited to join forces with the talented teams at Phantom group.

For over a decade, Milk has delivered award-winning VFX, earning a reputation for both creative vision and technical excellence. This year, Lola celebrates its 25th anniversary, a significant milestone that reflects its enduring contribution to the industry and its deep commitment to partnering with filmmakers and showrunners who value collaboration and creative support. This next chapter will allow us to scale our creative ambition, extend our global reach, and continue delivering outstanding VFX to our clients.” 

Chris Burn , Group Managing Director of Milk and Lola Post

“Milk and Lola Post’s strong pedigree of award-winning work, strategic locations across Europe and innovative spirit, further ensures Phantom’s global reach in producing the very best work and excellence in customer experience.

”The advantages this group brings to bear in terms of superior creative, competitive value and overall sustainability are powerful assets in the marketplace.” 

Ian Unterreiner, Executive Vice President of Phantom Digital Effects Ltd.

“I’m thrilled to welcome Milk and Lola into the Phantom group. Their proven creative excellence and distinctive storytelling further strengthen our position as a leading force in the industry.

“This strategic move deepens the integration of our studio ecosystem and reinforces our commitment to supporting filmmakers, content creators and production companies around the world as a trusted partner in delivering high-quality visual storytelling.” 

Bejoy Arputharaj, CEO and Founder of Phantom Digital Effects Ltd.

Current and upcoming projects across the Phantom group include The Mandalorian and Grogu (Tippett Studio – Disney), The Toxic Avenger (Tippett Studio – Legendary, Cineverse), The Revolutionaries (PhantomFX – Prime), The Witcher Season 4 (Milk – Netflix), Surviving Earth (Milk – NBC) and Good Omens Season 3 (Milk – Prime). 

Most recently, the Group’s work was featured in high-profile ventures including Ironheart (Tippett Studio – Disney+), Heads of State (Milk – Prime), Walking with Dinosaurs (Lola Post – BBC/PBS), Creation of the Gods II: Demon Force (Tippett Studio & PhantomFX – Alibaba Pictures Group), Star Wars: Skeleton Crew (Tippett Studio – Disney+), Citadel: Honey Bunny (PhantomFX – Prime), Alien: Romulus (Tippett Studio – Disney), IC814 (PhantomFX – Netflix), Scoop (Milk – Netflix), The Rig (Lola Post – Prime), Meg 2: The Trench (Milk – Warner Bros.). 

The VFX and Animation World Atlas reveals global growth over the last 12 months

UK Screen Alliance in conjunction with the British Film Commission are proud to be platinum sponsors of the 2025 edition of the Visual Effects and Animation World Atlas, published today (29^th July).

The Atlas presents a snapshot of the global workforce, and as the data collection is repeated every quarter, it gives an indication of the recent changes in the sector. The data is drawn from a study of 120,000 VFX and animation professionals associated with 2,450 studios worldwide, and is collected from public sources such as company websites and individual social media profiles.

The Atlas shows that the global VFX and animation work force grew by 9.3% in the second half of 2024, followed by a contraction of 7.6% in the first half of 2025, giving a 1% net industry global growth over the past 12 months. The London workforce reduced by 5.1%. This figure includes the impact on the UK of the global collapse of the Technicolor group, which resulted in the shuttering of The Mill and MPC in February; followed by the closure of Jellyfish Pictures in March. Together these accounted for the loss of around 500 jobs in the UK.

London remains by far the largest city hub in Europe for VFX and animation, with 10,564 people, more than double the size of Paris, it’s closest European rival. In the global league table, London sits third, just behind Mumbai on 10,866, and Los Angeles on 12,354.

The UK has recently improved its tax incentives for film and TV, with an uplifted rate of 29.25% net for VFX, which is also now exempt from the 80% cap on eligible expenditure. VFX, post production and animation are also eligible for a net rebate of 39.25% for films with core production expenditure under £15 million. Although the VFX uplift can be claimed on expenditure from January 1^st 2025, it wasn’t confirmed in UK law until late March, with many productions reportedly delaying decisions for this certainty. UK Screen Alliance, the trade body for VFX, post and animation, feels that the impact of the recent improvements is only just beginning to be apparent.

“The VFX and Animation World Atlas is fast becoming an invaluable data source for our industry with its trend analysis and up-to-date information. But even though the data is recent, it reflects the industry as seen through the rear-view mirror. UK Screen Alliance has surveyed its member companies to gauge future sentiment, and found that 71% have seen an increase in sales enquires since the introduction of the VFX uplift, with 43% of those surveyed indicating a significant increase. As those enquiries translate into confirmed bookings VFX companies are showing increasing confidence in  a return to sustained growth in excess of  5% over the next 12 months.

“The UK’s VFX industry has an unrivalled reputation for success, with award-winning innovative crews. Now that we can couple that with a competitive tax incentive, we know that many productions are viewing  the UK as a priority destination for VFX. “

Neil Hatton, CEO of UK Screen Alliance

The VFX and Animation World Atlas is available as a free download from www.vfxatlas.com

Fitzrovia Post and The Finish Line partner to deliver seamless post services at Camden’s Fitzrovia Studios

Fitzrovia Post and The Finish Line have announced a powerful new partnership, bringing together two of the industry’s most trusted names to deliver seamless post-production from the heart of Camden.

This collaboration unlocks a truly end-to-end solution for productions working at Fitzrovia Studios. From ingest through to final delivery, clients can move through every stage of post in one beautifully designed, fully accessible space.

We’re thrilled to be partnering with the team at The Finish Line. Zeb and his crew are the gold standard for picture finishing and delivery. Their approach is sharp, their workflows are second to none, and their people-first mindset matches ours perfectly. Winning Best Place to Work in TV three years running says everything. Together, we’re building something bigger than either of us could do alone…a place where technical excellence and creative craft sit side by side, with clients front and centre.

Keiran Brown, CEO of Fitzrovia Post

Fitzrovia Post has recently consolidated operations at Fitzrovia Studios on Oval Road, offering a full range of audio and post services including craft editing, Dolby Atmos mixing, ADR, voice recording, podcasts, sound design, foley. With The Finish Line now providing picture finishing and delivery support from within the studio, the space offers an enhanced client experience for productions looking for attended sessions in a single location.

I absolutely love what Keiran and his team have created here. The space is smart, welcoming and designed around the client experience, which perfectly complements everything we do. Fitzrovia Studios gives us a brilliant environment to deliver our services for productions working on site, while continuing to support our wider partnerships and embedded workflows across the industry.

Zeb Chadfield, Founder of The Finish Line

The Finish Line will continue to deliver its award-winning remote and embedded services across the UK and globally, including longstanding collaborations with production partners in other locations. This new Fitzrovia-based option adds a flexible, facility-led pathway for productions looking for hands-on post in a fully serviced studio environment. But this partnership is not just about sharing space. It reflects a shared belief in collaboration as the future of post. By bringing together trusted partners, shared resources and flexible workflows, Fitzrovia Post and The Finish Line are helping shape a more open and connected model for delivering world-class post-production.

We believe in leaning in, not fencing off. The days of working in silos are over. The future is about collaboration, connection and bold thinking…combining forces to get more done, faster and smarter. That’s exactly what we’re doing here. Our doors are open for tours, conversations and future partnerships. We’re excited to show what’s possible when you break the old rules.

Keiran Brown, CEO of Fitzrovia Post

Founded in 2011, The Finish Line is one of the UK’s leading post-production companies, known for its advanced workflows, immersive capabilities and unmatched capacity for HDR finishing and delivery. Its distributed, people-focused approach has made it a three-time Gold Winner of Broadcast Magazine’s Best Places to Work in TV and a trusted partner on major productions for global broadcasters, including Netflix, Disney+, BBC, HBO, Discovery and more.

Fitzrovia Post, founded over 30 years ago, is a name rooted in London’s post-production community. Known for its creative craft, technical precision and deep client care, it is a multi-award-winning studio and two-time finalist for Best Post House at the Broadcast Awards. Now operating from its flagship Fitzrovia Studios in Camden, Fitzrovia Post serves clients including Netflix, Disney, Audible, Sky and the BBC with a forward-looking and flexible approach to post.

Cinesite Immersive unveils new showreel and appoints Business Development Manager

Cinesite Immersive has announced the launch of a new showreel, highlighting a selection of their recent ground-breaking projects in the immersive technologies and location-based entertainment sectors.

The showreel offers a glimpse into the innovative experiences Cinesite Immersive are creating, demonstrating their commitment to pushing the boundaries of immersive storytelling. Watch it below.

Cinesite Immersive have also welcomed Michelle Mateus to the team as their new Business Development Manager. Michelle is known for her exceptional ability to drive growth and her passion for transformative experiences. Her previous experience includes significant contributions at a renowned global technology company, where she excelled as a Business Development Representative and the company’s first Account Manager, generating over $1 million in pipeline and securing $1.3 million in won deals. Her leadership was further demonstrated as a Business Development Executive Team Lead, where she mentored a team and spearheaded initiatives to boost recurring software revenue.

Most recently, as a Strategic Partner Manager at an experiential technology company, Michelle cultivated key relationships with architects, exhibition designers, and content producers across EMEA, managing a multi-million-pound pipeline and securing contracts with prestigious clients like the Royal Observatory Greenwich and Glencadam Distillery. Michelle is eager to leverage Cinesite’s world-class VFX and animation heritage to further pivot into creating unparalleled immersive experiences.

Milk unleashes explosive tomato-fuelled action for Heads of State

Milk delivered 239 shots for the Amazon Studios action movie, Heads of State.

The team led by Milk VFX Supervisor David Sadler-Coppard and VFX Producer Jasmine Ford–Elgood were involved from pre-production through to final delivery.

Working closely with Production VFX Supervisor Raymond Chen and Production VFX Producers Claudia Dehmel and Jakub Chilczuk, the studio’s work focused on two of the film’s largest sequences, the La Tomatina festival opening scene and Safehouse. In addition, the team contributed to several other sequences throughout the film, enhancing the practical action and stunts. This included the addition of muzzle flashes, destruction, digital vehicles, the integration of FX and plate elements, and environment extensions.

The most complex sequence was the film’s opening, which takes place during Spain’s famous La Tomatina festival, a real-world event where thousands of participants gather to throw tomatoes at each other in a chaotic, city-wide food fight. Due to filming restrictions, real tomatoes could not be used on the ground or in the air, so Milk was tasked with creating highly realistic CG tomatoes that appear in nearly every shot of the sequence. The sequence involved a large number of actors running and interacting, which created substantial tracking and roto challenges.

Creative direction played a major role in shaping the final look, with extensive notes on the colour, consistency, and wetness of the tomatoes. Particular attention was paid to whether they appeared more chunky or watery, and how they interacted with both surfaces and performers. Milk’s artists had to stay flexible to accommodate notes on every variation of tomato splatter and surface interaction, all while maintaining photorealism under the scene’s chaotic conditions. In addition to the tomato work, the sequence also featured muzzle flashes, FX destruction, CG crowds, and a heavy amount of stunt interaction, all contributing to the intensity of the scene.

Another key sequence was Safe House, where two world leaders are under siege by a team of assassins. One standout beat involved a blast sequence in a corridor, where a door rigged with C4 is blown off and ricochets back and forth, triggered by multiple explosions. To create this scene, Milk rebuilt the entire corridor digitally. This allowed for detailed previsualization and destruction choreography. The timing of the destruction elements was so specific that the sequence required ongoing refinements throughout the post schedule.

Beyond the large set pieces, the team also worked on muzzle flash shots that evolved into more intricate VFX challenges. Each required minute detail including flying bullet casing, smoke from barrels and chambers, flash ghosting, muzzle gases, and heat distortion. Different weapons, from pistols to shotguns to machine guns, required their own tailored setups.

Milk worked on Heads of State for approximately a year, with the team scaling up to around 30 artists at its peak. From the explosive chaos of the tomato festival to the tightly choreographed tension of the Safe House sequence, Milk is proud to have delivered visual effects that are both technically ambitious and thoroughly entertaining.

Vine FX welcomes VFX Supervisor Ben Hicks and announces key creative promotions

The new leadership team highlights the studio’s growth and commitment to creative excellence.

Alongside a succession of internal creative promotions, Cambridge-based VFX studio Vine FX has announced the appointment of Ben Hicks as Visual Effects Supervisor. The leadership update spotlights the studio’s consistent growth and commitment to creative excellence.

Boasting a growing slate of projects, Vine FX is known for delivering high-quality imagery across film and television. Frequently crediting the passion and talent of its artists and production crew, Vine FX has consistently dedicated itself to showcasing seamless visual effects that skillfully enhance storytelling. The studio’s work can be seen across a diverse range of high-end productions, including James Hawes’ latest action thriller, The Amateur, The Rig: Season 2, Get Millie Black, and The Witcher: Season 3.

Ben Hicks – Visual Effects Supervisor

As a seasoned creative with over two decades of experience, Ben Hicks brings a wealth of expertise to Vine FX, having contributed to major feature films and high-profile television projects, including Inception, Interstellar, Skyfall, Bohemian Rhapsody, Fast & Furious 6, Expendables, and many more. He re-joins Vine FX after a previous freelance stint and a variety of senior roles.

I’m delighted to re-join Vine FX as a VFX Supervisor. Having previously worked here in a freelance capacity, I am well aware of the exceptional talent and creativity within the team, and I look forward to contributing further with my experience.

Ben Hicks, VFX Supervisor at Vine FX

Alongside Ben’s appointment, the studio has announced several internal promotions from within, highlighting the growth and skill of Vine FX’s in-house talent.

Kaitlyn Beattie – Executive VFX Producer

Since joining Vine FX in 2020 as a VFX Line Producer, Kaitlyn Beattie has advanced progressively through the production ranks. With her experience with large-scale VFX production and creative coordination, Kaitlyn has played a crucial role in delivering some of the studio’s most ambitious projects. Her producing credits include major titles for top-tier platforms such as The Witcher (Netflix), HBO’s Get Millie Black, The Tourist (BBC) and The Lazarus Project (Studio Canal). Kaitlyn’s knowledge of the production pipeline and collaborative leadership style make her ideally placed to take on the Executive VFX Producer role.

I am thrilled to step into my new role as Executive VFX Producer at Vine FX. This is an exciting new chapter, and I’m ready to continue to drive the company forward, support our wonderful clients, and keep creating incredible work.

Kaitlyn Beattie, Executive VFX Producer at Vine FX

Tim Kilgour – Creative Lead

With over 25 years of experience spanning visual effects, 3D animation, and digital design, Tim Kilgour has long been a respected creative force in the industry. He joined Vine FX in 2023 and quickly established himself as a key technical and artistic leader, supporting the growth of Vine FX’s CG department. His diverse credits as a CG and VFX artist include No Time to Die, Brave New World, and Shanghai Fortress, where he served as the show’s Creative Art Director. In his new role as Creative Lead, Tim will lead the team across upcoming productions, mentor artists, and continue to raise the creative bar.

I’m honoured to step into this role as Creative Lead. This certainly feels like a natural evolution, and I’m looking forward to seeing where this next stage takes us as a team. We are all keen to keep pushing creative boundaries, telling visually unique stories and creating work we can all be proud of.

Tim Kilgour, Creative Lead at Vine FX

Harry Byford – Head of Editorial

Harry Byford joined Vine FX in 2022 as a Junior VFX Editor. Having honed his skills as an assistant editor at other studios, his journey is a testament to his dedication and editorial expertise. Harry has steadily progressed and become an integral part of the Vine FX team. His keen eye for detail and artistic precision are demonstrated in high-profile titles, including Disney’s Extraordinary Season 2, The Rig: Season 2, and Paris Has Fallen. In his new role as Head of Editorial, Harry will guide the Editorial team and oversee the studio’s editorial operations.

I’m tremendously proud to be taking on my new role as Head of Editorial here at Vine FX. I’m looking forward to elevating the company by leading our talented Editorial team, shaping the future of the department, and continuing to deliver outstanding work for our clients.

Harry Byford, Head of Editorial at Vine FX

These new appointments at Vine FX mark the studio’s commitment to nurturing its in-house talent and expanding its creative leadership team. With an exciting slate of upcoming projects for 2025 and beyond, the studio is set to deliver even more outstanding visuals and world-class storytelling.

Harbor Picture Company welcomes Jason T. Morrow as Supervising Dailies Producer UK

Harbor Picture Company has announced the appointment of Jason T. Morrow as Supervising Dailies Producer UK, bringing with him over a decade of experience supporting major studio productions to Harbor’s growing global presence.

Jason previously led UK dailies operations at another major studio. A widely respected figure amongst the studio and filmmaking industry, his impressive portfolio includes recent titles including Andor (Seasons 1 & 2), Masters of the Air, Black Widow, and Here.

With a deep command of the dailies process and a reputation for cultivating strong creative partnerships, Jason has become a trusted collaborator for filmmakers and studios alike. His ability to blend technical precision with a people-first approach makes him the go-to collaborator for dailies projects of all scales.

Jason’s industry knowledge and hands-on experience are matched by his talent for building trusted, collaborative relationships with artists and executives alike. His people-first approach aligns perfectly with Harbor’s culture and our commitment to creative partnership.

Thom Berryman, UK Managing Director, Feature and Episodic at Harbor

Jason will lead Harbor’s UK dailies operations from the company’s London studio, overseeing a growing slate of high-end film and television productions.

This appointment comes as Harbor continues its strategic growth in the UK, including its recent expansion at Shepperton Studios, further reinforcing its commitment to delivering world-class post-production services at the heart of the UK’s production landscape.