LONDON—Gravity Media’s Gravity House post-production facility supported Sony Pictures Television’s Left Bank Pictures for delivery of the sixth and final season of the Netflix series “The Crown.” 

The team at Gravity House in the heart of Soho provided the editing team with 18 editing suites. In addition, it supplied Avid Media Composer suites networked via a central Avid Nexis storage solution, it said.

“We are delighted to have welcomed ‘The Crown’ team to Gravity House,” said Rebecca Martin, post-production and facilities manager for Gravity House. “We created a creative hub, a place to work that’s both practical, luxurious and simply an enjoyable place to be. Gravity House offers networked suites of cutting rooms with a creative atmosphere that helps inspire the offline process.”

Gravity House offers post-production teams spacious, high-spec editing and online multi-use suites. They can be repurposed for a range of feature film and TV projects. The 40 spaces can also be used for offline editing and VFX as well as for meetings, screening and production offices. 

Other recent film and TV projects worked on by the Gravity House team ensuring tech and editing post-production support include: “The French Dispatch,” “The Dig,” “The Banshees of Inisherin,” “I Care A Lot,” “A Discovery of Witches” and “SILO.”

More information is available on the company’s website.

LONDON—The team behind Netflix’s award-winning drama “The Crown” took part in a special Royal Television Society event Monday night, where they discussed the task of making a 1950s-set drama for a UHD broadcaster.

Asked as to how much the team take UHD into account when making the series, director Philip Martin explained they try very hard not to make the series seem too realistic in the way it looks, “We have a set of vintage lenses so we have high-definition 4K raw footage and then we try, in effect, to optically shoot it through lenses that are 50-60 years old, just to de-digitalize the end result.”

“We use a lot of smoke and so on,” Martin continued. “It softens the vista if you like. Often with 4K or very high ultra definition things, everything is pixel perfect from right in front of your nose to a million miles away. So we had to get the light and the lenses to fall-off photographically as it would do when you were shooting on a camera 50 years ago.”

Martin paid tribute to the show’s production designer, Martin Childs, whose work comes under the spotlight even more in a UDH-shot series, “It does subject Martin’s work to incredible scrutiny—everything has to be amazing, because you’re going to see it all.”

Childs chipped in, “And I never know when that falling-off is going to happen.”

Martin continued, “Sometimes something you think is going to be in the middle of the frame turns out to be the one thing you want to focus on. It’s something we’re very conscious of and particularly with a story that has so much mystery and magic to it, in someways you want it not to feel too real.”

This story originally appeared on TVT's sister publication TVB Europe.