
Customer Success Stories
See how Louper brings teams together, and makes collaboration fun again!

“Louper is essential. I want my clients to see my face and hear my voice. Being able to see the person is just as invaluable as seeing the work that we're collaborating on together.
Colorist Calvin Bellas

“Louper just unifies everybody. We're all looking at the same screen, listening to the same music. It made the workflow very quick, seamless and everyone's dialed in.”
Editor David Fisher

Matt Chan
Re-recording Mixer at Picture Shop Toronto
“Louper was fantastic. We used a plugin to convert the Dolby Atmos into a binaural feed, which gets streamed over Louper. We’d sent all the producers the same set of headphones, so they’re all listening to the same thing. That was really successful.”
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Alyssa Loh
Write & Director - Copy Save
“Louper made it possible for us to fine-tune the mix from opposite sides of the U.S. Louper gives far more control over playback, and allows you to achieve much better sound and image sync than conventional screen-sharing platforms.”
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Lucas Harger
Founder & Editor at Bruton Stroube Outpost
“We love Louper. The differentiator between Evercast and Louper is that Evercast was clunky, just to be able to hit stream was a headache. Louper was way smoother and cleaner from the editor or colorist seat, and it was a better client experience.”
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“Louper was fantastic on Halo Season 2. We used a plugin to convert the 7.1.4 Dolby Atmos into a binaural feed, which gets streamed over Louper. That was really successful.”
Halo re-recording mixer Matthew Chan

“Louper was a really important part of the collaboration process during color correction, especially considering the distance, and the level of precision we needed for the film.”
DP Alejo Maglio on Summer War

Victor Perez
VFX Supervisor
“Louper was key on Naples-New York. Part of the collaborative process of moviemaking is looking at the same image and listening to one another. That’s the difference between Louper and other software, it’s like: ‘let's do this together!’”
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Evan Schiff
Editor - Frankenstein
“We had 3 days of remote editing on Louper when Guillermo and I were in Toronto and Alfonso Cuarón was in Paris. We had an ongoing conversation as we played through the reels. Together, we cut 5 minutes out. It was really fun and creative.”
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Daymian Mejia
Colorist
"Being able to offer a remote session to clients is essential. Louper is the all-in-one package where I can talk to my clients, they can annotate, and I get a guaranteed high-quality stream. It's great for me.”
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“The director really enjoyed working on Louper, and we were able to pack a lot in because we weren’t driving an hour in traffic to get to the edit bay. I’m a big fan of the platform!”
Nimrods editor Ryan Brown

"Louper's annotation tool was really useful to us, because we were so conscious about shaping. The DP and directors loved being able to circle something and draw on screen. I could see exactly what they meant, go back into the project and immediately start working on it."
Colorist Daymian Mejia

Sam Coombes
Director of Photography
“To all be on the same page, review instantaneously, make notes - it saved us a lot of time. We couldn’t have achieved the look and delivered it on time without Louper. It was absolutely integral to our post-production workflow.“
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Joe Morrow
Re-recording mixer - The Testaments
“With a team spread across so many locations, Louper has been vital in keeping everyone connected and creatively involved in the mixing process. Playing back mix updates immediately while discussing them in real time makes the workflow far more efficient for everyone involved.”
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Matt Osborne
Editor
“You have to do it in real time. Just work on Louper for 30 minutes and then you can move on, rather than wasting hours or days going back and forth with notes, doing different versions. It’s a seamless experience for everyone.”
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“We use Louper for every mix playback. Notes can be addressed instantly, creative conversations happen naturally, and decisions can be made in a single session.”
Re-recording mixer Joe Morrow

“Louper was key on ‘Naples-New York’. The collaborative process of moviemaking requires looking at the same image and listening to one another.”
VFX Supervisor Victor Perez

David Fisher
Editor
"Louper solidifies communication because we're all listening to and watching the same thing and it can't get misinterpreted by a written note. You can try something while everyone's in the Room. And then you can get sign off on that specific note in real time and then move on."
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Jeffrey Chance
Colorist
“Louper has that edge: in a live session you can give the agency final confirmation that these colors are accurate. Once the agency folk are happy, they keep coming back. They know they can trust me with a project.”
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Ricardo Saraiva
Editor - Un Poeta
“Louper is a godsend because I'm based in London but I tend to work with directors that are not UK-based. Louper allows me to edit remotely, it just opens up possibilities to explore because we don’t have to be tied to a specific schedule and a specific way of working anymore.”
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“We used Louper to do final tweaks, watch sequences and just finesse the cutting. It allowed us to connect and feel pretty much as if we were in the same room together.”
Un Poeta editor Ricardo Saraiva

“It’s super helpful to jump into a Louper Room and talk through the cut with fresh eyes. You can find the solution through conversation, versus trying to interpret notes.”
Jean Jacket editor Jack Hessler

Ryan Brown
Editor - Nimrods
“Louper was fantastic, the director really enjoyed working remotely. As far as productivity goes, we were able to pack a lot in because we weren’t driving an hour in traffic to get to the edit bay. I’m a big fan of the platform!”
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James Galbraith
Colorist
“Louper is the cornerstone of my workflow. I'm able to collaborate with directors, DP’s, producers, from across the globe. It’s so easy to just dial in the look all together.”
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Gonçalo Almeida
Director - Atom and Void
“Louper saved me a lot of time traveling. If you’re in a big city, meeting every day, you waste hours commuting. I don't have that time, the editors don't have that time. So for me, it's been magical.”
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"As a colorist you need to trust the platform you are engaging with - Louper has that edge. In a live session you can give the agency final confirmation that these colors are accurate. That's only helped my career longevity because once the agency folk are happy, they keep coming back. They know they can trust me with a project."
Colorist Jeffrey Chance

“Louper allows us to be in the same room together. It reduces what would have taken us a week to do, down to a few hours, because we can adjust timing or color and I can play it back.”
Director/ DP/ Colorist Tim Snider

Alejo Maglio
DP - Summer War
"Louper became a really important part of the workflow and collaboration during the color correction, especially considering the distance and the level of precision we needed for the film."
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Jack Hessler
Editor
“Once we’ve finished for a day, we'll upload a cut to Louper. It’s super helpful to jump into a room the next morning and talk through the cut with fresh eyes. You can find the solution through conversation, versus trying to interpret notes.”
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Calvin Bellas
Colorist
"The use of remote sessions is key, because it helps things move smoothly and it makes creatives more available. We use Louper to get the agency and clients on the same page, because we want everyone to be happy."
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“With Louper, I can talk through feedback and respond to it immediately. Live sessions are really useful for taking out that guesswork. It just makes the experience seamless.“
Editor Jake Benjamin at Big Time Studios

"Louper has saved me a lot of time traveling. We don’t need to wait for two whole weeks where we are both completely free, we can work together between other jobs. It's been magical."
Atom and Void director Gonçalo Almeida











