As the season finale of Good Cop/Bad Cop approaches, the series has emerged as one of the most charming and talked-about shows this year. A major factor in its success? The full suite of post-production services provided by Cutting Edge’s Gold Coast studio.
For the first time, a US drama series has fully utilised the Gold Coast, from shooting through to final post. Cutting Edge, located on the lot at Village Roadshow Studios (VRS), played a key role in shaping the series’ distinct visual and sonic identity.
Bringing Good Cop/Bad Cop to Life
Created by John Quaintance and produced by Jungle Entertainment, Future Shack, The CW Network, Roku, Stan, and ITV, Good Cop/Bad Cop follows siblings Lou (Leighton Meester) and Henry (Luke Cook) as they navigate crime-solving under the watchful eye of their father, Big Hank (Clancy Brown).
The series presented a unique opportunity to integrate every stage of production within the Gold Coast. Cutting Edge’s full-service post-production pipeline ensured seamless collaboration between editorial, sound, and visual teams, creating a cohesive and dynamic final product.
“Productions looking to shoot and finish picture and sound post production on the Gold Coast will benefit massively. Not only do you have prime shooting locations with Village Roadshow and the unique landscapes nearby, but you also have three levels of support from the federal agency, the state agency, Screen Queensland, and the local agency, the Gold Coast Film Commission. This depth of support is unique in Australia. We are proud to partner with these established entities to help productions maximise their placement on the Gold Coast.”
Marcus Bolton, Head of Features & Television, Cutting Edge
Seamless Post-Production Collaboration
One of the biggest advantages of working with Cutting Edge was its proximity to production. Having the editorial and post team located within the same studio where the series was shot meant that the creative team could easily refine the show’s style and tone throughout the process.
“We loved working out of Cutting Edge on the Gold Coast—it allowed us to keep post in the same studio where we were shooting. Editors were always accessible, and we could even host mid-shoot screenings to maintain energy and motivation. Thanks to the whole Cutting Edge team, especially the colourist and sound team, who went above and beyond.”
Chloe Rickard, Partner, COO & Executive Producer, Jungle Entertainment & Executive Producer, Good Cop/Bad Cop
Cutting Edge’s close integration with the production team allowed them to fine-tune everything from comedic beats to the final colour grade. Post Producer Stewart Dean highlighted how crucial this real-time collaboration was:
“This was our first time working with John. Having worked with Jungle Entertainment on previous projects such as No Activity and Squinters, we knew just how important the creative process is with comedy to ensure the gags are delivered with perfect timing! The ability to quickly test edits and adjust the grade, online, and sound mix meant we could ensure the humour landed exactly as intended.”
Stewart Dean, Post Producer, Good Cop/Bad Cop, Cutting Edge
Even as production moved forward, Good Cop/Bad Cop continued to evolve creatively. For showrunner John Quaintance, the post-production process at Cutting Edge was about refining every detail:
“Finding the look and sound of a new show is a subjective and idiosyncratic process. Everyone at Cutting Edge was patiently attentive until we got the episodes to a place I was thrilled with.”
John Quaintance, Creator & Showrunner, Good Cop/Bad Cop
The Power of Sound and Picture
Post-production at Cutting Edge was more than just technical execution—it was about enhancing the storytelling. Head of Colour Dwaine Hyde worked closely with the DOPs to craft an immersive visual aesthetic, while Sound Supervisor Paul Devescovi ensured the sound mix met international standards.
“Working at VRS every day was a joy. I enjoyed driving through the lot and seeing the hustle and bustle of productions such as Good Cop/Bad Cop. I also enjoyed working in the VRS sound theatre at Cutting Edge, which was a great collaborative space. Recording the ADR, mixing, and reviewing the series’ first episode in the same studio is game-changing for the Gold Coast! I speak on behalf of the whole post crew when I say we didn’t want this series to end. It was a fantastic production, and we look forward to welcoming more international post-production opportunities on the Gold Coast.”
Paul Devescovi, Sound Supervisor, Good Cop/Bad Cop, Cutting Edge
With multiple broadcasters and streaming platforms involved, Cutting Edge also took on the complex task of delivering different versions to The CW Network, Roku, Stan, and ITV. Online Artist Phoebe Ireland, alongside Post Production Supervisor Stephanie Tiltman, ensured that every specification and QC requirement was met with precision.
“I had the pleasure of working with Cutting Edge on the Gold Coast as our picture and sound post-production vendor for Good Cop/Bad Cop Season 1. This was the first large-scale US show to have all editorial, sound, grade, and online work done on the Gold Coast. The Cutting Edge offices at Village Roadshow Studios were a great space, which they have adapted to work for sound and grade.
Stephanie Tiltman, Post-Production Supervisor, Good Cop/Bad Cop
Good Cop/Bad Cop was by no means a simple show in terms of editorial, picture, and sound post. We had one US broadcaster, one US streamer, one Australian streamer, and one international distributor, which meant four quite different delivery specifications. As all fellow post-production nerds will know, that means ‘complicated’. Cutting Edge helped streamline and simplify this process to ensure the most efficient and thorough delivery. They also found their way and excelled at every challenge, and there were a few. The team was helpful, resourceful, and a pleasure to work with.”
A Gold Coast Success Story
The success of Good Cop/Bad Cop highlights the Gold Coast’s growing reputation as a complete production hub. Cutting Edge’s involvement proved that high-end international drama can be fully realised in Australia, from concept to final delivery.
Good Cop/Bad Cop has earned praise for its charm, sharp writing, and standout chemistry between Meester and Cook – an element critics say elevates it beyond formulaic fare. With a vibrant, engaging world and dynamic performances, it’s the kind of show that quickly becomes a weekly habit.
With Good Cop/Bad Cop paving the way, more productions are expected to follow suit, reinforcing the Gold Coast as a premier destination for both filming and post-production.
Don’t miss the thrilling season finale of Good Cop/Bad Cop – tune in tonight on The CW Network, or Stream it on Roku in the US and on Stan in Australia!
About Cutting Edge:
Cutting Edge’s Gold Coast studio, located on the lot at Village Roadshow Studios, is a world-class post-production facility offering end-to-end picture and sound services. Over the past decade, it has become a key player in the region’s screen industry, servicing high-profile productions such as Nautilus (Amazon Prime), Land of Bad (Highland Film Group, Hoodlum Entertainment), Ticket to Paradise (Universal Pictures), Thirteen Lives (MGM), Aquaman (Warner Bros., DC Entertainment), and Pirates of the Caribbean (Walt Disney Pictures).
With expertise spanning VFX, picture, and sound post-production, Cutting Edge’s Gold Coast team works with major studios and streaming platforms, leveraging cutting-edge technology, including UHD, 4K, Dolby Vision, and Atmos. Their ability to provide a seamless, integrated workflow ensures productions can shoot and finish post in one location, reinforcing the Gold Coast as a powerhouse for international film and television production.