Best Post-Production Companies in Paris (2026)

Introduction

Paris has one of Europe’s largest post-production sectors, and the nine houses below cover most of what a producer needs under one roof: rushes, editing, conforming, grading, sound and deliveries. They were chosen for full-service capability, recent credits and an active studio in Paris or the inner suburbs in 2026.

The market changed shape over the past two years. Technicolor’s collapse in early 2025 put its Paris studios up for sale, and TransPerfect bought MPC and The Mill’s French operations that April, folding the former MPC post-production site into TransPerfect Media (the group formerly known as Hiventy). At the César awards in February 2026, FICAM members M141, Polyson and TransPerfect Media all had credits on winning films, and Polyson and M141 worked on several of the same titles, including L’attachement and Nouvelle vague.

Every company here has a working studio in Greater Paris in 2026. Specialist colour, editing, VFX and sound studios have their own pages, so this list focuses on houses that take a project from rushes through to delivery. It is unranked: the right choice depends on format, budget and the kind of work you make.

The best post-production companies in Paris

1. TransPerfect Media

Part of TransPerfect (formerly Hiventy) · Boulogne-Billancourt · media.transperfect.com

TransPerfect Media is the largest group on this list. It grew out of Hiventy, which brought several Paris labs (CMC, LVT, Digimage and others) under one brand in 2016, moved its headquarters to Boulogne-Billancourt in 2019 and joined TransPerfect in 2022. In April 2025 TransPerfect bought the MPC and The Mill studios in Paris from Technicolor, and the former MPC post-production facility now runs as its Hauteville site.

There are four Paris-area sites: Boulogne, Hauteville, Bastille and Odéon. Boulogne has Dolby Cinema grading, Foley, recording and Atmos mixing, and every site handles conforming. César 2026 credits include grading, voice recording and DCP work on Arco (Best Animated Film), sound effects and editing on Le chant des forêts, and picture editing and grading on the short Au bain des dames. Subtitling, dubbing and audio description sit in the same group, which suits films heading for international release.

2. M141

Film and series post-production lab · 2nd arrondissement · m141.fr

M141 is a digital post-production laboratory near the Opéra Comique, founded in 2001 and led by managing director Thibault Carterot. It is a FICAM member and an associate member of the AFC, the French cinematographers’ association.

Its 2026 César credits were among the strongest of any lab. M141 handled rushes, editing, conforming, grading and deliveries on L’attachement, which won Best Film, and on La petite dernière, plus rushes, conforming and grading on Nouvelle vague and L’étranger. The team is relatively small, so it suits auteur features and series where the director of photography wants to stay close to the grade.

3. Polyson

Picture and sound post-production house · 20th arrondissement · polyson.fr

Polyson has worked on French films for about 25 years and runs one of the larger facilities in the city: over 3,000 m² on rue de Bagnolet and Villa Riberolle, with 36 editing rooms, 8 mixing auditoriums and 4 grading and projection rooms. A music studio in Montreuil and a site in Lyon complete the set-up. In January 2026 it won the César & Techniques innovation prize for Diachromie and Diaphanie, two image-processing tools it built in-house.

At the 2026 Césars Polyson was credited on Arco (sound editing and mixing), L’attachement and Nouvelle vague (mixing), Dossier 137 (picture and sound post) and L’inconnu de la grande arche (picture and sound editing). Its immersive sound work runs under the Cosmotone name.

4. Studios Post & Prod

Picture and sound post-production house · Boulogne-Billancourt · studiospostandprod.fr

Studios Post & Prod sits by the Billancourt metro exit and keeps the whole image and sound chain on one site: rushes, editing, grading, Foley, post-synchronisation and mixing. It works on fiction and documentary for broadcasters, streaming platforms and cinema, and has a second site in Sète on the Mediterranean coast.

It is a FICAM member, run by managing director Olivier Béchat with Aurélie Boileau as head of post-production. Producers who want one address for picture and sound on a series will find it a practical fit.

5. Waymel Post-Production

Broadcast post-production house · 15th arrondissement · waymel.fr

Waymel has been finishing French television for more than 50 years from its building on boulevard du Général Martial Valin, near the France Télévisions headquarters. It covers picture and sound post-production and also offers filming services.

Its client list leans towards news magazines and documentary strands: 13h15 le dimanche on France 2, Enquête Exclusive and Un jour, un doc on M6, Télématin on France TV, and a TF1 reportage programme. That makes it a strong option for fast-turnaround factual work with weekly airdates.

6. VDM

Part of Groupe Transatlantic · Issy-les-Moulineaux · vdm.fr

VDM is an audiovisual lab with around 50 years of history, now part of Groupe Transatlantic. Its post-production side covers editing, colour grading, mixing, graphics and effects, and it holds Netflix, Apple and Dolby certifications.

The house is known as much for what happens after the edit: subtitling, audio description, technical and editorial quality control (including ARCOM compliance), DCP and IMF packaging, and film restoration in a private 4K laser room with Dolby Atmos. It serves producers, distributors and broadcasters, plus corporate and institutional clients who need the same delivery standards.

7. Digital District

Privately held · Paris · digital-district.fr

Digital District is a Paris finishing house for commercials and features, combining VFX, colour grading on Baselight, a digital lab and deliveries. Its feature film VFX work runs across Paris, Brussels and Shanghai, and earlier credits include The Artist.

On the advertising side its client list includes L’Oréal, YSL, Dior, Renault, Peugeot, Nespresso and Nike. In 2026 it had VFX credits on two César-winning films, L’étranger and Un ours dans le Jura.

8. Nightshift

Image post-production house · 10th arrondissement · nightshiftpost.com

Nightshift is a FICAM member on rue d’Enghien that handles image post-production in-house, including editing, retouching and colour grading. 3D and VFX work goes to its subsidiary Brunch Studio (formerly Chez Eddy), so a project can stay within one company from the offline to the final shot.

The set-up suits commercial, brand and short-form work where still and moving image are delivered together, since retouching sits next to the edit and grade.

9. Silverway

Film lab and post-production studio · 18th arrondissement · silverway.paris

Silverway is one of the few places in Paris that still processes film. It develops colour negative and Ektachrome in Super 8, 16mm, Super 16 and 35mm, usually on the same day, and scans to HD, 2K and 4K. Digital grading runs on Resolve and Baselight, editing on Avid with Nexis storage, and there is a 68-seat 4K projection room with 7.1 sound.

It joined the AFC as an associate member at the end of 2025 and co-ran a Kodak and Vantage workshop in Paris that produced the short film Rupture. It has no dedicated mixing stage, so sound is best booked elsewhere; for productions shooting on film it keeps lab, scan, edit and grade in one building.

What to look for in a Paris post-production company

Start with the format. Paris houses tend to specialise by output even when they offer everything: some are built around feature film and the César calendar, some around weekly broadcast magazines, others around commercials and luxury brand work. A lab with strong feature credits is set up differently from one that turns around a news magazine each Sunday.

Check what is in the building. “Full service” can mean a grading suite and an edit room, or it can mean Atmos mixing stages, Foley, subtitling and QC on one site. Ask which steps stay in-house and which go to partners or subsidiaries, and who carries responsibility for the final deliverables.

Ask about delivery specifications early. Platforms such as Netflix and Apple publish their own requirements, and French broadcasters add accessibility rules on subtitles and audio description. Houses that hold platform certifications and run their own QC can save a round of rejected masters. If the film will travel, check that subtitling and dubbing can be handled without moving the files to another vendor.

Finally, look at how media moves between the production, the post house and the client. Rushes, proxies, cuts for review and final masters often live in different places, and versions can drift across email and transfer links. A clear structure for where each version lives, and one place where producers and clients leave feedback, keeps approvals on schedule.

How Fabric helps post-production teams

Fabric gives post-production teams one workspace for project files, client feedback and the notes that sit around a job. Producers, editors and clients can work from the same folders without copying media to every machine.

Fabric’s cloud drive streams files on demand, so heavy media takes no local disk space and opens without a full download. Shared team folders always hold the latest version. There is more on this in how to edit video without filling your SSD and the guide to proxy workflows.

Uploaded audio and video are transcribed automatically, with clickable timestamps, and search works by meaning across transcripts, documents and images. An assistant editor can find the take where a line was said, or the interview where a subject came up, without scrubbing through hours of rushes.

For review rounds, clients can leave threaded comments through a shared link without creating an account. Cuts and masters can be shared with password protection, and link analytics shows when each named recipient opened a link and how long they spent with it. With annotations, reviewers can leave timestamped comments on video and comment on PDFs and documents such as scripts and delivery specs.

Password protection and link analytics are included on Pro and Team plans. See plans for teams.

Frequently asked questions

What is the best post-production company in Paris?

It depends on the project. On 2026 recognition, M141 and Polyson were credited on several César-winning films including Best Film winner L’attachement, Polyson won the César & Techniques innovation prize, and TransPerfect Media is the largest group with four Paris-area sites.

What happened to Hiventy?

Hiventy joined the TransPerfect group in 2022 and now operates as TransPerfect Media, with its main site in Boulogne-Billancourt. The Hiventy name is still used for some services and events.

What happened to MPC and The Mill in Paris after Technicolor collapsed?

TransPerfect bought both Paris studios from Technicolor in April 2025. MPC’s former post-production facility is now TransPerfect Media’s Hauteville site, and the MPC and The Mill brands continue as divisions of TransPerfect Media.

Do Paris post houses still work with film?

Yes. Silverway in the 18th arrondissement processes Super 8, 16mm and 35mm and scans to 4K, and TransPerfect Media’s Joinville site also handles film processing, scanning and film recording.

Should I use a full-service house or separate specialists?

A full-service house keeps conforming, grading, sound and deliveries under one schedule, which suits features and series. For commercials, many producers book a specialist colourist or VFX studio directly; see the best colour grading studios in Paris and the best VFX studios in Paris.

Related lists

Post-production in other cities: New York · London · Los Angeles · Chicago · Toronto

More in Paris: Creative agencies · Video production · VFX · Colour grading · Sound design

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