The series heard how detectives chased every lead while manoeuvring between unreliable witnesses and fallible memories. It also examined the public’s insatiable demand for answers, which fuelled unprecedented press interest and the proliferation of online chatrooms, where speculation on the ‘real cause’ of Diana’s death became one of the first viral sensations of the early internet.

Told as a gripping and forensic police procedural, the series explored how powerful individuals, the press and the internet created and fuelled conspiracy theories that called into question the very nature of truth.

Behind the Post Production

See what our Creative Team has to say on the project.

Dicky Everton BFE, ENVY Online Editor

“This landmark series combines first-person testimonies with news archive and contemporary reconstruction, leading the viewer through the French and British investigations which followed the tragic events of the night of 31st August 1997.

During the on-line edit, we worked hard to preserve as much detail as possible in the archive footage, most of which was 4:3 SD interlaced news footage of relatively poor quality. We used various plug-ins and techniques to add video fields together, without introducing blurring, which made the archive more stable and easier to watch. The CCTV footage required more work to stabilise the recordings, keeping the date/time stamp securely positioned in the same place on screen. Text elements were designed and positioned to complement the supplied graphic sequences.

Two versions of each episode were created, one for Discovery+, one for Channel 4, so we were constantly alert to the differences between both sets of deliverables, in terms of caption safe areas, and content/spelling.”

Matt Skilton, ENVY Dubbing Mixer

“My brief was to create a mix that was abstract and steered away from a traditional dramatic reconstruction documentary. This provided me with an exciting and interesting task. I started with the dialogue mix, which consisted of cleaning and levelling the dialogue. The audio was a mix of interviews and archive footage, some of which was over thirty years old – so needed work to fit in with the new footage. I then created the abstract, atmospheric sound effects to accompany the visuals.

With the series being shown with two different broadcasters, there were some slight changes between the mixes. For example, Channel 4 requires a Stereo Mix whilst Discovery + requested a 5.1 Mix.

It was fascinating to hear from the French side of the investigation for the first time, it really makes the programme standout from other programmes on the subject.”

Andrew Cloke, ENVY Colourist

“The series directors came in with a specific look in mind. A key theme in the series is conspiracy theories that came out of the early world of the internet. Green is a key colour that gradually ramps up as more conspiracies are introduced. The consistent use of green made all the conspiracies feel part of the same ‘world’ to create one picture. There is a real film noir feel to the dramatic reconstruction that makes the documentary feel mysterious.

Archive footage was an important part of the series, which helped put the puzzle together from that night in Paris. I enhanced the material but without giving the footage a modern look. For example, a news broadcast from the time was enhanced but it is still obvious that the broadcast is from the 90’s. I did this by using a LUT which enhanced the colour palette but did not take away the look of the archive.”

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.