The Team

See what our Creatives had to say following their work on Season 2.

Paul Fallon, Colourist

“It was a great pleasure to work with the team at Raw on season 2 of Searching for Italy. I’m proud to have been involved in a show which recently celebrated an Emmy Nomination for ‘Outstanding Cinematography for a Nonfiction Program’ and Televisual Bulldog nomination for ‘Cinematography’ – my congratulations to the whole team.

The programme was beautifully shot and captured so many of the gorgeous sights of Italy. Having already worked together on the previous series I already had a good idea of the aesthetic the producers wanted to achieve. My task was to create a nuanced but authentic look to capture the truly cinematic character and diversity of the country and its food.

It was a fantastic project to be a part of and it thoroughly deserves all the success it is getting.”

Tom O'Pray, Dubbing Mixer

“Stanley is a smooth, calm character so my objective was to enhance his relaxed persona; there was never a need for heavy sound effects as the show is light and relaxing to watch and so the mix also had to reflect that feeling.

One of the challenges I was faced with was working with dual languages, however, I worked closely with the production team who assisted me in translating the Italian dialogue to ensure important pieces of information and dialogue were clean and understandable. There are parts of the show that take place in lively, urban environments that are hotspots for Italian culture. Some of that background noise, such as traffic and background talking, was reduced so the focus was on Stanley and what he was up to, but not completely removed to retain the atmosphere of the location. I used RX Software which is the best software when it comes to cleaning dialogue and noise reduction.

A great mix starts with the sound recorded on set. Everything was well planned and thought out on location and that was reflected in the fantastic audio that came into the mix. The Raw team and I already had a clear vision of what we wanted to achieve from the mix after working together on season 1. It was a dream project to work on because of the hard work during shooting and the offline, the edit already flowed incredibly well which I was able to help boost further. It’s a formula that has worked incredibly well and that is reflected in the Emmy nominations we have celebrated together for Best Sound Mixing.”

Envy Credits

Grading / Colour

Adding a splash of colour to your project is the Grading team. Our team can design particular looks to match the visions of how you want your show to look.

We have six Baselight TWO colour grading suites all with the latest Dolby and Sony monitoring allowing our grading team to work at resolutions from HD up to 4K HDR. All suites are connected to a high-speed SAN and supported by a Baselight Assist, allowing imports/exports to happen in the background without interrupting the session.


Once the Offline is completed, our experienced Online team will bring your project to life with their knowledge and skills.

Our online team operate across ten Avid Symphony suites and two Autodesk Flame systems all connected via high performance shared storage, working at resolutions from HD up to 4K HDR and beyond if required. They offer the latest plugins from both Boris and Sapphire, as well as the highest quality broadcast monitoring available. The team are highly experienced in large-scale multi-episodic productions as well as fast turnaround ‘day of transmission’ style projects.


Our Sound department are able to create thrilling soundscapes, record and edit voiceovers and mix the most complex of projects.

Our Broadcast division has nine sound studios, all with VO booths alongside two additional Audio Prep rooms. All our studios are 5.1 capable with three studios being Dolby Atmos 7.1.4. All suites run the latest ProTools 20.12 software with the latest plugins. As well as mix, we also offer ADR, Foley and remote voice over.