I’ve been thinking a lot about the challenges facing most production companies at the moment. With commissioning shifting and tighter budgets, from where I sit in post production, it’s clear that revenue is being distributed differently. That pressure creates space to think about what decisions are being made and where money is actually being spent.

Today we’re chatting with Samuel Keene about his journey from the machine room to coding AI solutions, and why he thinks the best way to reset is to put the screens away and head to the coast.

London, UK, January 2026 – The Finish Line has been named Gold Winner in the non-indie category of Broadcast Magazine’s Best Places to Work in TV for the fourth year in a row, an achievement the company says feels like an incredibly special way to begin 2026.

London, UK, 14 January 2026 – The Finish Line, a specialist provider of high-end post-production services to both production companies and post facilities, is entering an exciting new era as founder Zeb Chadfield becomes sole owner of the business. The move marks a period of growth and renewed focus for one of the UK’s most well-regarded and progressive post-production companies.

We’ve pulled together a little highlight reel that showcases just a few of the projects we were proud to be part of in 2025.

The Finish Line is proud to announce that it has been officially awarded ‘HDR Vivid’ Certification, further expanding its industry-leading HDR finishing and delivery capabilities. The certification arrives as the company continues its full migration to QD-OLED reference monitoring across all 30 finishing systems, using the latest displays from Flanders Scientific. This upgrade, combined with HDR Vivid certification, reinforces The Finish Line’s commitment to delivering the highest standards of image accuracy for every project.

When we launched The Finish Line in 2011, the idea of running a distributed post-production company raised more eyebrows than applause. At that time, the industry was dominated by expensive post houses in central London, packed with edit suites, long commutes, and the belief that clients had to sit in the room to get the best out of the process.

Post production is changing. Budgets are tighter, schedules are shorter, and the pressure to deliver high-quality content hasn’t gone away. At The Finish Line, we believe the answer isn’t to squeeze more from less, it’s to rethink how we work. That’s why we’ve built our entire model around embedded post: a deeply collaborative, flexible and cost-effective approach that treats post as a core part of production, not a handoff that happens at the end.

This is a basic guide on how to get your DaVinci Resolve Project over to us for Final Post

At BIRTV 2024, the largest film, entertainment, and broadcast tech exhibition in Asia, Kevin Shaw chaired a panel on HDR titled “HDR: The Future is Here.” The discussion featured insights from Bram Desmet, CEO of Flanders Scientific, cinematographer Yang Shu, Vice President of the Chinese Society of Cinematographers, and our founder and CVO, Zeb Chadfield. We explored how HDR is reshaping filmmaking, from breaking SDR limitations to enabling more creative freedom.