Best known for its factual output, Raw TV’s latest is a big budget US drama. but, Dimitri Doganis tells Jon Creamer, story is just story
At the time of this interview, Raw TV’s founder Dimitri Doganis is ensconced at Molinare putting the finishing touches to Harley and the Davidsons, a three part drama about the founding fathers of iconic American motorcycle brand, Harley Davidson for Raw’s parent company Discovery.
It’s Raw TV’s biggest scripted show by far and a big budget drama bet for an indie perhaps best known for its long running factual shows like Gold Rush.
But it’s not so much of a leap, says Doganis. “This is our first big US mini series but we have done one-offs in the UK” including Cyberbully starring Game of Thrones’ Maisie Williams as well as drama/doc hybrids like Blackout. “And we have a significant film slate in the wake of The Imposter [Raw’s successful theatrical doc).”
But there was still a lot to grasp, he says. “For me personally it has been a fantastic learning curve. What we did of course was find and partner with really great experienced people to make sure that learning curve wasn’t at the expense of the project itself.”
Whether it’s factual or drama or something in between “story is story,” he says. “What was the most powerful thing abou t the experience for me was that sense in which everything comes down to the strength of the story and the strength of the characters.”
Big budget drama, says Doganis, is just the next logical step for the now 15 year old company that was acquired by Discovery back in 2014. “Bart [Layton, Raw’s co founder] and I had always wanted to do it. We both come from factual and documentary backgrounds but that has never been the limit of our ambition.” And he says, a lot of Raw’s factual output is inspired by film. “We’ve take a lot of those ambitions and those sensibilities and applied it to factual storytelling.” Locked Up Abroad and The Imposter are examples. “It doesn’t feel like a leap into the unknown. It feels like the next step on a continuous journey and one which feels very natural.”
And inevitable given the huge wealth of stuff in the development bank. “Many of the projects we’re developing in the scripted space are based on true stories. After The Imposter we realised we had this huge repository of fantastic stories many of which been developed as possible factual programmes that could work in the scripted space. It has felt like a continuum of ideas generation and creative thought that really goes back to our very early days.”
And blurring the boundaries of genre is what Raw has always done, he says “We’ve always tried to ignore the artificial boundaries between genre” because “innovation comes from taking either people or methods from one discipline and applying them to another.”
The success of the company has come from resolutely following its creative rather than commercial nose, says Doganis. “Bart and I have never believed that you chase the money. We believe if you do good work the money should chase you. It’s almost a mental jujitsu you have to do. Running a production company requires you to live with financial risk as an ambient hum. We have always taken refuge in the notion that if you do great work there will be a way in which you can make a living from that. We have never done a project because we thought it would make us money.”
Even Gold Rush, now on episode 137 and counting, started as a way to tell the story of the death of the American dream after the financial meltdown of 2008, he says. “It grew in to something else because of the way we told the story but it didn’t start with ‘hey we should have a long running American reality TV series that would finance other things.’”
Risk is essential for success, says Doganis “partly because you never know where the next long running series is going to come from. You have to keep trying new things and taking risks otherwise you’re just rehashing old things. I’m not remotely interested in rehashing things other people have done before.”
And that means following the instincts of Raw’s staff rather than calculating what the market wants. “Trying to second guess broadcasters has not been a particularly good development strategy for us. What’s been more productive is finding stories we are passionate about and finding characters we are fascinated by. We can be a bit unworldly in that way.”
That’s despite Raw being part of a very large business since its acquisition by Discovery two years ago. But the Discovery deal has been a big positive says Doganis. Not least in aiding its move into drama. “They have trusted us with big projects like Harley and the Davidsons. They have been fantastic in being encouraging of our scripted ambitions” and importantly “The deal was shaped in a way that wasn’t driven by our profit margins, it was driven by the success of the shows we made and it enabled us to keep doing the thing we’d been doing since we set up which was to try to tell great stories about characters that feel relevant to an audience.”
CV Doganis started out in 24-hour TV news, as a producer and cameraman, going on to make current affairs shows and docs as a freelance producer and director for the BBC, C4 and C5. He set up Raw in 2001 with a small development deal from Channel 4. Initially he continued to direct docs alongside running the company but since 2004 he has concentrated on running Raw and exec-ing on much of Raw’s output including producing theatrical doc The Imposter. Raw’s shows include Banged Up Abroad, Race for the Whitehouse, Goldrush, Cyberbully and Blackout
Ed Moore was the DoP on the latest series of Red Dwarf and was charged with creating a sci fi movie look for a multicam sitcom
What did you want to do with the new series?
I grew up watching the show and always loved the dark, colourful sci-fi world it existed in. It looked like no other comedy show. I wanted to keep the DNA of those early series - my pitch to Doug [Naylor – producer, writer, director] was “let’s make it look like Aliens; but it just happens to have jokes”.
So a ‘big budget sci fi’ look rather than ‘studio sitcom’, how did you achieve this?
Sci-fi can be dark and moody and that’s not always at ease with the tendency in comedy to overlight performers – we tried to balance that out with some sequences being played almost in silhouette, whilst others felt brighter. Always keeping in mind that these characters inhabit a ship that’s millions of years old and mostly broken.
Production design and locations were critical too – designers Julian Fullalove and Keith Dunne did amazing work with our regular sets and the daunting task of producing new spaceships, bases, moons etc every week. We even built an entire 1920s American street set the length of the studio for one episode.
I was fortunate to have the amazing Trevelyan Oliver as my “A” camera operator who not only did phenomenal work on locations, but led a team of four operators on our live record nights. Shooting simultaneously with four cameras can be compromising in terms of getting the ideal shots as you’re constantly dodging each other and all the sound kit, but they found ways to keep the style going. There were some impressive Steadicam-style tracking shots performed with 150kg camera and pedestal reversing at high speed around labyrinthine spaceship corridors with a team of camera assistants frantically keeping the cables flowing...
What did you shoot on?
After testing several cameras, the Arri Alexa proved to capture the high saturation look with the least fuss. To make them work in a studio environment we had them on ‘TV studio’ style pedestals for quick repositioning and height adjustment, and every camera had a 24-290mm zoom so any camera could get any shot. On location we switched to Cooke 5i primes and had a Movi gimbal on standby for tracking shots.
What were your references?
I particularly looked at Red Dwarf’s 4th, 5th and 6th series (beautifully lit by John Pomphrey), along with a whole bunch of sci-fi. Aliens, Battlestar Galactica and various incarnations of Star Trek.
How did you use lighting? We needed to create a lot of different looks very swiftly, so I tried to use as many lights as possible with remotely controllable attributes.
I stole the fantastic lighting console programmer Ziggy Jacobs-Wyburn from the world of theatre and with a rig full of Arri Skypanels, Robe ColorSpots and over a kilometre of LED ribbon we were able to change the look of all our sets instantly.
It also enabled a bunch of effects for the inevitable red (and blue...) alerts which could be fired off live. We could play the same corridors as being on different decks by changing accent colours, and projected circulation fan effects gave a sense of churning movement throughout our ship.
I was well supported by Simon Roose and the team at Pinewood MBS lighting.
What technical challenges did you face?
The trickiest was keeping that low-key, backlight sci-fi look whilst shooting with four cameras. A really cool backlight on one camera is a horrible front light for a camera shooting in the other direction.
And with four leads constantly playing off each other whilst wandering the set you need to keep plenty of tricks up your sleeve to keep them in the right side of Stygian gloom...
Writer Daisy Goodwin and exec producer Damien Timmer explain how they created ITV’s drama about Victoria’s early years as queen
Daisy Goodwin is the creator and producer of a long list of returning popular factual formats from Grand Designs to Escape to the Country. After quitting TV to write a series of historical novels she’s now returned to the small screen, this time as the screenwriter behind ITV’s big budget drama based on Queen Victoria’s first years as monarch. Goodwin and exec producer Damien Timmer explain how the show came about
Is it difficult to go from factual producer to drama writer? DG I read history at university and my plan was always to make historical docs. Then I got sidetracked and ended up making popular TV formats. I’ve worked across the piece but my career has all been about telling stories, it’s just that the modes have changed.
How did you come to screenwriting? DG I wrote a couple of novels based in the 19th century and my last novel had Queen Victoria as a character and I got more and more engaged with her. When I quit Silver River and decided to write full time I thought I would write another novel about Victoria but as I was doing my research I realised it was really the stuff of drama.
Was it a difficult transition from novels to scripts? DG Although I hadn’t written a drama before I did 100 years ago go to film school in New York. I always found writing dialogue the easiest thing when writing my novels and screenwriting for some reason feels very natural - once I figured out how to use Final Draft. Also because I’m very familiar with the material I’m not scared of it either. I know what I think is important and what is not, what I can do and not do and still remain true to the facts. Having said that I did have help. I was lucky to work with Mammoth and Damien and Rebecca. I’ve learned so much from them.
What’s your take on the story? DG My take on it is ‘teenager becomes queen’. I have a teenage daughter and she’s a handful so what would it be like if tomorrow she became the most powerful woman in the world? That was a compelling notion and a great place to start a drama from. It centres on the first few years of Victoria’s reign. It starts with the day she becomes Queen. It’s really about her struggle to assert herself and break free of her mother and her mother’s adviser John Conroy and to show the world that she is capable of being queen. There were a lot of people who thought that maybe the crown should have gone to the next man in line, her uncle the Duke of Cumberland. It was quite a fluid situation. It was not the slam dunk we might expect now.
How crucial was the casting? DG Casting Victoria was the biggest hurdle. My biggest thought was she must be very small and we must get the sense that she’s this tiny girl at the centre of a forest of old men. That has come thorough very clearly. You really get the sense that this is not the way things were intended to be so she has to work hard to assert herself.
What about the world she inhabits? DG We wanted to get over in the script and the production that Britain was not an empire at that point. It was a nation on the up. It’s got entrepreneurial and scientific development but it has third world poverty too. It’s a really volcanic place. There were lots of carriages and chandeliers and things we expect from royal life but we’ve also tried as much as we can to show this is a moment of huge technological and social change. This is a world that’s in ferment. It’s not a Jane Austen world of bonnets and balls.
What is the show’s look? DT The first series is in the early years of Victoria’s reign. When people think of the Victorian era they think of a style that tends to be lots of dark wood, forbidding and rather severe and very ornate. But when she comes to the throne the Regency style is still very present. It’s a colorful, romantic style and that’s a lovely backdrop to this teenage queen.
How was Buckingham Palace created? DT Rather than build standalone sets, production designer Michael Howells built a big expanse on the ground floor so we could have completely free movement. We could take the camera from the throne room to a ballroom to private areas and huge ceremonial rooms and it’s all connected. A lot of it had ceilings so once you were inside you really were in this early 19th century palace. We based ourselves in Yorkshire which worked really well. The majority of the action is in Buckingham Palace and we very quickly had a model of a combination of a big studio build at the Yorkshire Studios and location filming in other grand spaces around Yorkshire.
The eight-part series follows the early years of Queen Victoria’s reign as she ascends the throne at the age of 18. It is created and written by ex factual producer and now novelist Daisy Goodwin, in her screenwriting debut.
Broadcaster ITV Production Mammoth Screen Creator and writer Daisy Goodwin Executive producers Dan McCulloch, Damien Timmer, Daisy Goodwin Producer Paul Frift Lead director Tom Vaughan Development Rebecca Keane Composer Martin Phipps Production designer Michael Howells Distributor ITV Studios Global Entertainment Cast Queen Victoria – Jenna Coleman; Prince Albert – Tom Hughes; Rufus Sewell – Lord Melbourne; Alex Jennings; Paul Rhys; Peter Firth; Catherine Flemming; Eve Myles; Adrian Schiller; Nichola McAuliffe; Daniela Holtz; Nell Hudson; Tommy-Lawrence Knight; Nigel Lindsay; Alice Orr-Ewing
Tech show IBC (8-12 Sept) is a great place to check out both brand new launches as well as a chance to get your hands on something already announced at NAB. Jon Creamer gives a small taste of what’s likely to be on offer
First up, Sony. Sony says it will be exhibiting its full ecosystem – from acquisition through production to archive at IBC. A big draw will be the first European showing of its new HDC-4800 system camera, a 4K 8x Super Motion Camera System with Replay Server Function, built for sports live production that was announced to huge fanfare at NAB this year. Also announced at NAB was Sony’s XDCAM shoulder-mount camcorder, the PXW-Z450 which is capable of capturing 4K (3840 x 2160) picture quality from a new 2/3-type ExmorR CMOS sensor. Many will hope to get a look at it in action before it ships later this year.
Canon announced new additions to its family of Cinema EOS products at NAB with the launch of the ME200S-SH, a compact professional multi-purpose video camera, and the CN-E18-80mm T4.4 L IS, a compact cinema EOS lens with cine-servo style functionality that is described by Canon as a bridge between traditional Canon EF photography lenses and CN-E cinema lenses, and is aimed at filmmakers and documentary shooters “who want the control and quality of cinema optics with the lightweight, compact design and features of photography lenses. “ Both will be on display for touch and try, for the first time in Europe at IBC.
At NAB, Panasonic announced additions to its professional 4K camera lineup, both of which will be on display in Europe for the first time at IBC. The UX premium model (AG-UX180) is equipped with a 1-type MOS sensor, optical 20x zoom and UHD 60p recording capability, whilst the UX standard model (AG-UX90) features a 1-type MOS sensor, optical 15x zoom and UHD 30p recording capability. IBC will also see the VariCam cameras set up in a dedicated production area, including the (relatively) new VariCam LT that gives the famous ‘Panasonic look’ in multiple formats ranging from 4K, UHD, 2K and HD.
The company’s remote camera range and its studio cameras including the AK-UC3000 4K live camera system and the AK-HC5000 will be on show too. Panasonic will also be displaying its AG-DVX200 4K large sensor camcorder.
As always, there will be much excitement about what Arri may or may not choose to announce at the show. There’s been speculation that a ‘true 4K’ Alexa could make its debut at IBC (though NAB is more likely). As Azule’s Duncan Payne says, “I think this may be the third show running that I have said that there will be announcements about a new higher-resolution Arri sensor. I’ll be right one day, maybe this time. RED’s 6K Weapon may force Arri’s hand this time.”
On the subject of Red, many of the show’s visitors will be very keen to head to the Red stand to see if they can get a look at a Weapon camera with the new 8K Super 35 Helium sensor. A few models were shipped as a very limited edition just a few weeks ago after a surprise announcement by Red president Jarred Land (they sold out in ten minutes). Apparently Michael Bay’s already got his own custom-made lime green version called Bayhem.
There will be lots of lenses to focus on to. Fujifilm will be showing off its 2/3” 4K UHD products including the Fujinon UA13x4.5 (4.5-118mm) Ultra-wide angle lens that has just started shipping. Cooke Optics will demonstrate the new 35-140mm zoom at IBC 2016, alongside a variety of Anamorphic/i, 5/i, S4/i and miniS4/i lenses.
SAM will be launching its new mid-range Vega processing router line-up at the show, featuring four processing router models from 68 ports to 432 ports.SAM is also showing its new low cost, high capability range of signal protection modules, synchronisers and mux’s and is introducing new 12 Gbps 4K signal processing modules and adding its logo detection and alarming technology to its monitoring and control solutions.
Along with its production switchers, Ross is now in the camera business, having launched ACID cameras earlier this year. They make their European debut at IBC. ACID is a series of compact “box cameras” that offer full size studio camera performance. They also offer special performance characteristics for chroma keying in virtual environments.
4K UHD will form the central element of Ikegami’s exhibit. Making their IBC debut will be the 4K-native 2/3 inch UHK-430 portable broadcast camera and the HQLM-3120W 31 inch monitor. Also on show will be the new HDL-F3000 multi-format ultra-low-light camera and the new MCP-300 Network Master Control Panel. Ikegami also celebrates its 70th anniversary at IBC 2016.
Blackmagic announced a new camera operating system and more easily-navigable user interface for the URSA Mini at NAB and the public beta of it is now available. Users can take a look at the Blackmagic stand.
New products and solutions from Grass Valley making their EMEA debut at IBC include the LDX 86N native HD/3G/4K/ High-Speed System Cameras, the direct IP solution for the LDX series of cameras, the compact GV Korona K-Frame S-series Video Production Center switcher and iTX On-Demand Automated VOD Publishing.
Down at the AJA Video Systems stand, a couple of recently announced bits of kit will be on display. The company has just started shipping its updated Hi5-Fiber Mini-Converter with 3G-SDI support for high frame rate needs. Also recently at InfoComm in Las Vegas, AJA introduced a new Mini-Converter, the HA5-Fiber, for HDMI to 3G-SDI conversion. The small form factor enables this Mini-Converter to easily fit onto the back of a camera or neatly behind an equipment rack, extending HDMI signals up to 10km.
Co-owner S+O Media
What will you be looking out for at IBC? I’m hoping for news of future camera bodies from Arri and Canon. For new cameras the Red Helium will be a huge crowd puller.
What manufacturers interest you? Apart from all the camera manufacturers we will be looking at LEDs from Aladdin and DMG Lumiere. Tripods from OConnor and Sachtler.
What new products are you keen to get your hands on? We’ll be predominantly looking for neat accessories to make the day to day use of our equipment easier.
Are there any announcements you’re hoping for? Hopefully roadmaps for the Canon, ARRI and Sony high end cameras. New lenses by Hanse Inno Tech.
What will be the main themes at IBC? With any trade shows the theme is progression. IBC promises to deliver some great announcements and innovations across the board of acquisition and delivery. HDR, VR, and new camera systems will all be there to look forward to.
Bharat Kerai, business development manager, WTS and
Jonathan Lyth, systems manager, WTS
What new products are you keen to get your hands on? BK Canon launched the ME200S-SH at NAB. It has Canon’s highly impressive Dual Pixel CMOS Autofocus system and is going to be great for everything from broadcast and cinematic productions to scientific research and wildlife documentaries. We can’t wait to try it out!
NewTek’s TalkShow VS4000 multi-channel video-calling production system. Designed for SDI and IP workflows, it’s going to make life much simpler for broadcasters who want to conduct multiple live Skype video calls simultaneously from the studio. The imminent arrival of Canon’s new CN-E 18-80mm cine-zoom lens has caused a stir in the office. We’ll be taking the opportunity to take a closer look at it at IBC.
Are there technologies you want to find out more about? JL At IBC 2013, the SMPTE said that it was striving for improvement across higher dynamic range, higher frame rate, wider colour space and higher resolution – yet it’s only the last of those that has been such a buzzword in the intervening three years. Of all these technological advances, HDR is probably the cheapest for the industry to deliver, and the easiest improvement for the consumer to appreciate. Nevertheless, it opens up a number of questions, not least the setting of standards for what we will actually consider to be HDR, and the possibility that higher frame rates might be needed to address viewer sensitivity to the strobing of 50i or 25p on the brighter screens used to deliver HDR. So WTS will be eager to learn as much as we can about it.
Are there any announcements you’re hoping for at the show? BK We wouldn’t be surprised to see Sony announce something like an F75 – a 4K cinema camera to challenge the Arri Amira. But something like that might have to wait until Las Vegas and NAB.
Head of facilities, Shooting Partners
What will you be looking out for at IBC? New VR rigs, Sony EF equivalent lenses, personal/small drones, any new camera systems, VR cameras and headsets, IP TV, camera to cloud, PTZ cameras, sliders and jibs, LED Lighting. What stands will you be heading for? Sony, Canon, GoPro, ARRI, JVC Bradley, Panasonic and Vitec TVU Networks. What manufacturers interest you? Nokia have blown us away with the OZO 360 camera. We will be heading straight for the stand to see any updates! What new products are you keen to get your hands on? Syrp Magic Carpet, Sync Bac from TimeCode Systems, Are there technologies you want to find out more about? Virtual reality is fantastic and finally reaching the quality we are excited about! Are there any announcements you’re hoping for? Away from VR / 360 and HDR, anything that improve on existing kit e.g. time code into Canon XC10, Sony FS5 Maybe something from Arri.
COO, Gearhouse Broadcast
What will you be looking out for at IBC? Requests for 4K or UHD content from broadcasters haven’t slowed down so we’ll be on the lookout for the latest cameras and lenses as well as UHD-enabled kit for our workflows. And of course, we’re interested in seeing what’s available in IP infrastructures that will enable faster and more efficient acquisition and delivery of 4K.
What stands will you be heading for? IBC is a great place to catch up with our partners and see what they’re demonstrating around 4K and IP so we’ll dropping by the Lawo stand to take a look at their V__matrix routers. I always like heading to the Evertz and Imagine Communications stands to see what new toys they’ve got for us to play with.
Are there technologies you want to find out more about? Cameras with higher dynamic ranges are something manufacturers have been speaking about for a while. But as we wait for 4K broadcasts to become a reality, HDR has become more important for broadcasters. It’s something we can help our customers benefit from now so we’ll have a number of engineers spending time at the show with a number of manufacturers to see what they can offer in wider dynamic ranges. VR is also becoming more important. Especially in live sports, audiences want to become as immersed as they can and VR is a great way to do that. It seems to be moving from a nice-to-do to something that audiences actually get something from.
What will be the main themes at IBC? While the overall themes of 4K and IP are key, what’s really important is how we can benefit from these technologies now that are of real interest. The possibility of remote production is one of these benefits that will continue to play a bigger part. It’s something that will make our services better if we can deliver operations remotely for our clients.
Regional director, Azule Finance
What will you be looking out for at IBC? New trends, particularly in OB IP infrastructure are interesting. There is still an understandable nervousness among tier one OB providers to venture too far in to remote production though. But for second tier events where it’s not so mission-critical, the technology exists right now. Also around live production, second screen technology is becoming more and more lucrative, so the technology from the likes of EVS is becoming increasingly important for rights holders.
What manufacturers interest you? The three main broadcast manufacturers that we’ve done most business with are Sony, Arri and Canon, so we will certainly be heading to see what’s new there. Fujinon have made good headway with their new 4K 2/3” lenses proving popular. Ross Video remain front and centre of a lot of the studio and live production innovations. The pinnacle of OB production camera technology is currently the Sony HDC-4300, which is starting to sell in greater volumes now. With its ability to be used as a 4K camera or an HD super-motion camera, it is a very versatile camera to have in the fleet. NewTek are generally a safe bet to have new product or technology releases at the major shows. Their TriCaster range is constantly evolving, and there is nothing else that does what it can do at that price point.
What new products are you keen to get your hands on? The Sony PXW-Z450 is the first 4K 2/3” shoulder-mount camcorder. Apparently it isn’t shipping until October but there should be beta models around to try. Zeiss has been consistently adding lenses to its already extensive range, and I’m sure there will be more announcements at IBC.
Are there any announcements you’re hoping for at the show? I think this may be the third show running that I have said that there will be announcements about a new higher-resolution Arri sensor. I’ll be right one day, maybe this time. RED’s 6K Weapon may force Arri’s hand this time.
Covering live events is not for the faint hearted, much can go wrong and often does so careful planning is key. Here, five exponents of the art explain how it’s done
Europe: The Final Referendum Debate
Production manager John Keyes on Channel 4’s Europe: The Final Debate with Jeremy Paxman produced by ITN Productions
We explored venues across the country and not just TV studios but random locations. In the end it was set in the Troxy in east London, a former cinema. A TV studio is easier, it has inbuilt technical capabilities but whenever you’re looking at locations you choose something that offers you the most flexibility for filming. The programme had a live audience of 150, a large set with a large video wall and signposted graphics as well. We found a space that could fit all that in. Some TV studios are compromised by size or shape or availability. You can use the London Studios or Elstree or Pinewood but then sometimes you’re fitting 150 into a space that could take a 1000 so you get lost in the wilderness. The Troxy fitted our production well and was available and architecturally an interesting space to shoot in.
If not filming in a studio you have to install full technical facilities.We partnered with Cloudbass. The immediate concerns are parking. You’ve got to have the OB trucks very close to the venue so access is important. There are 150 people coming in so you need to get them in and out safely in an emergency. You need production space, dressing rooms, space for camera jibs, Steadicams. There’s no point trying to shoehorn that into a smaller, prettier venue which lacks any kind of facilities.
It’s about the flexibility of the venue too. Some historic buildings are limited in what you can and can’t do with them. Also, what are the power capabilities? Does it have internet built in, phone lines? For redundancy you’re required to have solid BT phone lines rather than relying on mobile communication in the OB truck. We installed that in advance.
We knew the nature of the programme was to be reactive and cover a topical story so you have to ensure you’ve got cameras and sound to cover every eventuality. We ended up with eight cameras. As well as five ped cameras we had a large jib at the rear. We used a Steadicam as Paxman’s main camera so we could always move with the debate. We built in sound platforms for boom operators to work from to ensure we could cover every part of the audience. We had four operators working across the studio plus key panellists miked up. The key thing is redundancy. You have to ensure you’ve got back up for power, lighting, cameras in place and main and back up satellite lines in place as well.
The Isle of Man TT
Unit Manager Mark Bunkle and Head of Production Robert Gough on North One’s coverage of the the Isle of Man TT for ITV4
The planning for the next one starts as soon as the last one has finished. The race has become so popular you need to book the freight, the flights, the accommodation straight away. It’s an island in the middle of the Irish Sea so it’s not so easy. Everything has to be booked on to ferry boats which are often booked years in advance particularly during the TT week. Early planning is key.
It’s also about reserving the key people and getting them signed up. We’re lucky in that pretty much since we’ve started we’ve retained the same camera crew throughout. You got to have that experience in terms of health and safety know how.
We have 100 plus camera positions. The production staff is about 85 people altogether. We have 20 cars, satellite uplink, Hi-motion van, a VT truck, three 15-metre double expanding trucks for our office space. We have the heli-telly, Polecam, other fixed cameras. We’ve got the Steadicam rig at the start/finish. We use the NAC Hi-motion super slow motion camera – that gives us a special form of analysis with a high frame rate. The on-board cameras are built to our specifications now. It’s so complicated putting them on to the bikes with very limited space so they come in an articulated form. The various component parts of the cameras are stripped across the bike where space allows it. They’re very unique. It’s the same with some of the effects cameras. With the kerb cameras we use it’s logistically challenging. We can’t get to them so we use mobile phone technology to control those cameras. We can switch them on and off. The cameras then send us a reverse message to tell us what status they’re in so we should be able to know what media we’ll get back. The story of the race, apart from listening to the radio commentary, is coming to us in terms of data. The editorial team start constructing the programme based on data. If we know if there’s been an incident at a certain location at a certain time we can work backwards and see what pictures we’ll get that will support that.
Ingest wise on a big race we might be taking on 40 to 50 hours of material. We’ve got to ingest and work through that to make the material for that night. It’s harder than any of the live sport OBs we’ve done. The degree of difficulty on this is off the scale. The giant jigsaw puzzle is 37.5 miles of track and getting all the material back, the sheer scale of that material and then disseminating that into a creative editorial programme that tells the story of the day with the right pictures in the right places. It sounds easy if you say it quickly. And it’s a close road situation so that adds to the difficulty of how we can get that stuff back from areas that are quite hard to access.
We make use of the course cars and bikes and the travelling marshals. They can go around quite fast at the end just before the roads reopen to collect all that media for us.
The show goes out at 9pm that night. We do two shows, one for ITV which is English speaking with talent. That also goes to America and Australia among others. Then we do an international show without the talent which goes with a guide script. From May 30 through to 12 June we put out 15 ITV programmes and from the 2nd to 12th we made 12 international programmes as well.
Premier League Productions
Nick Moody, Head of Premier League Productions
PLP is the best kept secret in British broadcasting. We are not host broadcasters. Sky, BT and the BBC are covering the 380 matches for the Premier League. Our job is to pick up the match coverage and distribute it to 190 odd territories around the world. We bring everything back to IMG Studios at Stockley Park and everything then has graphics and the PLP look and feel added. We make a world feed around every single one of the matches with a ten minute build up and half time coverage and five minutes post match. For smaller broadcasters, we provide an English speaking channel with a very high end studio production with a lot of the talent you see in British broadcasting.
For every match we put in additional cameras. We put in a tactical camera every match. We put in a wide angle for broadcasters who might wish to populate thier own studios with the wide on the video wall to put their graphics over. We also send out an Iso angle that follows players during the game and that doubles up as an interview line for broadcasters that wish to go on site for unilateral hits pre and post match.
We have a new deal for this term with Telegenic for OB facilities. We’re having purpose built trucks that will be on site at 190 to 200 matches. Where we have high demand from overseas broadcasters who want to be on site for those games we put extra facilities in to take the burden off host broadcasters. We put a technical producer on site at every game to look after all those additional feeds and also four purpose built trucks that will look after the filming of the unilaterals so Sky, BT and the BBC don’t have to worry about it..We also look after the commentary positions. On big matches we can have six or seven commentary teams from around the world that wish to be on site. We also have commentary cameras that we put on.
We have deals with all the satellite providers in every market if one satellite goes down we have another we can turn to. We also have a fibre network at every Premier League ground. There are 16 lines out of each ground to get all the facilities back to Stockley Park.
We’ll be bringing back the 18 Yard and the High Behind now too. We are connected to the Hawkeye truck on site and we use them to hook into the host broadcaster so we can bring out up to ten angles via the Hawkeye. We play that down our fibre lines and make a clips channel. If Rooney scores an overhead goal we can access all the angles that the BBC or Sky or BT have for their replay. We can access all those angles directly even if they’ve not been used as replays and play them out around the world. Remote production is growing and we will be doing more but we’re not looking at a scenario where licensees around the world will cut their own games but we are looking at providing them with extra angles and cameras.
Apart from the core world feed we also make a magazine programme for every day of the week using all the content we’re bringing back and shooting ourselves as well. We’re also now expanding into short form content to allow broadcasters to get clips out to their digital areas.
ICC World Twenty20 Cricket 2016 - India
David Tippett, Sunset + Vine’s Executive Producer on the recent ICC T20 World Cup
The 2016 T20 World Cup in India was not the normal run of the mill event. We only won the contract just before Christmas and the T20 started in March so we didn’t have as much prep time as you would like. For a big event like that you would start crewing it and planning it up to a year ahead but we didn’t have that option. It was a competitive tender so a lot of the planning took place in the tendering.All the televised venues regularly host major international cricket so the camera positions and the way the game is covered is pretty much set to a certain degree, you’re not starting from scratch. We knew we had people on the team that knew the venues and what was required in terms of cameras and equipment and numbers of crew etc.
For the T20 it was primarily a local crew. They cover cricket all the time there and the quality of the camera operators and EVS is very high. But because it was an international event we wanted to bring in a decent level of international expertise to ensure you’re bringing the best of broadcasting from around the world or at least the territories that are big in that sport. You need that core sporting expertise, the coverage has to be credible but this is a world event so you have to be mindful of a broader audience. You need that sense of scale and occasion to the coverage.
It’s a fly pack based solution. We had seven televised venues so there were seven separate OB kits. Each venue had an OB kit installed for the duration. We had four separate production teams and crews. Each team had about 100 people from director, producer, exec producer, camera operators, VT, graphics. They then travelled around to operate one of the seven kits. It’s quite a complicated OB and production crew schedule which you apply on top of the match schedule. We did 48 games. Essentially what you’re doing is seeing what’s the smallest number of production crews you need to cover that number of games. We couldn’t do it with less than four. And then there’s a core team centrally managing the overall production. You need a uniform look and feel across the four crews. We don’t want a mish mash of different types of cricket coverage. It’s important for the ICC to have a uniform style. You’ve got four of everyone. You’re trying to allow them their own creativity. You’ve hired them because they’re the best in their field so they have their own thoughts and ideas but at the same time you’re trying to have this consistent output.
We were producing the world feed. Something new for ICC events was we were producing an entire programme rather than a raw world feed. We produced a programme with a half hour build up, mid innings shows and and then carried on with post match interviews. Cricket can do that as all the main rights holders are English speaking. And then some rights holders take all of that and others like Sky in the UK or Star in India would just do their own studio wrap and join the feed at predetermined points. Around that you’re also doing unilaterals for other rights holders. Another new thing was an additional content production operation. We had eight self sufficient ENG crews roving around India shooting press conferences, interviews and packaging those up. They were available on an ICC cloud based content distribution network for broadcasters to download.
Red Bull Culture Clash
Rob Lane, executive producer at Fastlane, on the Red Bull Culture Clash at the O2 which goes out on YouTube, Red Bull and is also simulcast on Radio 1 and 1Xtra
It’s our third year of doing the event. Each time we try to grow the event in terms of scale and ambition. We start by sitting down with Red Bull and looking at the previous year and how we can tighten it up and make it better. We work closely with the event production team to make sure it comes across as well on screen in terms of lighting and design. 1.23m tune in to the event. We bring in our own lighting designer, a multi-cam director and sometimes set directors so aesthetically it looks great on camera. We put together a bespoke team. We used the same director who did the show before, Liz Clare, who does the Brit Awards. We used the same lighting director too. There is a core group, they’re all live event TV experts.
It’s a competition format between four crews so it’s not a regular gig. The competition format is pretty set so there are rules and parameters that we stick to but what changes is the artists and presenters and the special guests. There are always surprises. There were a couple of venue changes this time so we had to re-spec the show twice. To begin with it was going to be at ExCel then the Olympic Stadium and finally the O2 was chosen. The O2 is a great venue to film in but, in previous years, each crew has had their own stage. The main difference this year was, due to the venue, we didn’t have four separate stages for the four separate crews. Our challenge was how do we get everyone to share a stage but have individual areas that feel like it belongs to them? We went through a lot with LEDs and our screen content to create a canvas, to pinpoint individual areas. It was about how we draw the audience attention to each part of the stage.
We look at the stage designs initially and then spec out a camera plan based on those designs and what we want to capture. We try to get in as many camera positions as possible without taking too much capacity from the event. We’re always mindful that they want to sell tickets but we usually get what we want. We had 15 cameras this year including the Technocrane and two cameras behind the scenes in the pres area for our wrap around show.
You have a little bit more flexibility doing a broadcast online. You can come off air and go on air when you decide but it all needs to be coordinated so the audience knows when to expect the broadcast. We time everything as you would a normal live broadcast show for TV but there’s a bit of flexibility if the winning act plays a few minutes longer for instance. But we’ve all got to be wary of the curfew at the venue. We do have hard deadlines to hit.
We have a streaming company we partner with. We go to the venue and test their lines and do a streaming test to YouTube. The streaming company have a set of encoders that they bring along and we make sure we have an uncontended internet line and a back up with the right bandwidth to cope with the amount of traffic we expect for a broadcast of this size. Also there are a lot of feeds. We’re feeding all the screens at the O2 as well as YouTube, Red Bull and Radio 1 is taking a feed as well. It’s a lot of planning and double and triple checking and a lot of talking about feeds and patching cables and cable runs and set up time.
What will the Brexit vote mean for the UK’s post and vfx businesses? We asked post company owners and managers for their views.
While many are still attempting to take in what the Brexit vote means for them personally, others are now trying to divine what this seismic event will mean for their businesses.
And the post production sector more than most. It is, after all, an increasingly internationally focused business that relies on a steady supply of foreign talent. Are there fears of a talent drain in post? Will instability stall the greenlighting of projects? Will a weak pound actually lead to an upsurge in international business?
The heads of many of the UK’s leading post production businesses share their views below. We’ll add more as they filter through.
William Sargent, CEO, Framestore
I am very saddened by Brexit.
I am an Irishman who believes in the benefits of the European Union.
Having a business embedded in the UK film and advertising I have the following observations:
1. As many of our clients are US based a weaker currency enhances our competitiveness.
2. The prospect of work permits for EU based nationalities makes me uncomfortable as we have traditionally been an open welcoming society. And they cost £1,000 each and every year - a cost which will quickly add up to a significant amount.
3. Our UK advertising business is dependent on the UK economy for which i have some concerns although I am confident that HM Treasury and the Bank of England values the need for supportive economic measures which I hope will neutralise much of the negative sentiment associated with Brexit.
Natascha Cadle, Facility Director and Co-Founder, ENVY
“It is probably too early to predict what the full impact of Brexit will be. It's not the result a lot of people expected and it's not the result most businesses wanted. There will be a lot of discussion and uncertainty for a long period of time and decision making will be slow which is not good news for anybody.
However we are a strong industry operating within a vibrant creative economy and hopefully we can weather the storm. We just have to keep doing what we do best and hope our clients won't be affected too much by the impact.”
John Rogerson, CEO, Halo Post
The obvious one is that if the Pound continues its fall (and sticks at a lower value) production and post production in the UK will be cheaper for overseas (especially US) producers - that combined with the excellent tax breaks (enshrined in UK law not EU law thankfully) should make a pretty compelling case for working in the UK. The ‘unknowns' are all based around confidence and that’s a tricky one to second guess. The damage that Brexit causes to the wider economy is probably a more likely threat to the post sector, especially if it compounds the already challenging operating conditions caused by high rents, over capacity and cut-throat competition.
As a business in a hugely competitive sector we spend time making detailed plans for most eventualities - this one however is slightly open-ended and it remains to be seen whether Parliament can act to limit the fallout. At the moment it seems everyone is just waiting to see what happens next.
Robin Shenfield, CEO, The Mill
The leave decision has triggered a great deal of political and economic uncertainty, the true impact of which is unlikely to be known for some time.
As with the vote itself, opinion is divided. One EU finance minister called it an act of 'self-harm'. Others are more optimistic though the inevitable pause before negotiations begin and plans acquire some flesh seem likely to cause tremors across the economy.
On waking up to the news, my first concern was for the status of the EU Nationals who work in London as part of the VFX industry; we alone have over 50 at The Mill in London. Fortunately, and thanks to the work of organisations like UK Screen and the Migration Advisory Council, the VFX industry is acknowledged by the Home Office as an area of 'skills shortage' so, as an industry we already have an enhanced ability to source visas for non EU recruits. As and when it becomes a requirement (and that seems likely to be in years rather than months), we are confident of being able to do the same for our staff from the EU. The multi-national and multi-cultural make-up of The Mill is at the very heart of our business and we will continue to recruit from Europe, just as we have always done.
Whatever the economic fall-out, there are a number of reasons why I remain (no pun intended) very bullish about The Mill's prospects. That is because I see The Mill and Beam as businesses that are absolutely at the top of their game. The Mill's market-leading position was emphatically demonstrated by our unparalleled awards success at the Cannes Advertising Festival last week (10 Lions, seven of them Gold). We successfully trade not just the UK market but a number of key markets in Europe too. I am confident that we will continue to successfully do that.
While London is a major hub for us, we are also fortunate that The Mill is a strong global business with a very significant presence in the US via our studios in New York, Chicago and Los Angeles. While hoping there is limited or no negative economic impact of Brexit on the UK economy and on the advertising sector in particular, we don't anticipate a significantly negative economic impact to be felt in the US.
While the vote was underway so was the Cannes Advertising Festival, which provided a timely reminder of the immense scale and breadth of opportunities available to businesses like The Mill. The global advertising economy is changing in ways that put an even greater premium on creativity and innovation. Our clients are very much in the market for the solutions that The Mill’s ever-evolving proposition can provide to them in VFX, via our Mill+ division and in emerging areas like VR. The creative problem-solving capabilities of The Mill are globally recognised and that stands us in good stead if uncertainties persist and markets tighten.
Julie Parmenter, MD, Molinare
"With the shock result from Thursday, the UK is seeing the financial markets impacted by the uncertainty this has caused.
In the cold light of day, the realisation that we have not yet left the EU and have another two years as full members as a minimum, we hope the markets will settle.
For Molinare it remains business as usual, we are having a record year and the recent vote will have little impact on the business in the short to medium term.
We have the license to sponsor individuals to work for us and have done this for individuals from outside the EU previously.
We value the rich mix of cultures in the team and will continue to ensure we attract people from all over the world to work for Molinare.
The UK is an exceptional hub of talent for the TV and Film industry and with the support of the government through the UK tax credits, the UK will remain a highly attractive for international clients to post."
Martin Poultney, Commercial director, Goldcrest
“I was attending as an industry guest at the FEST New Director's Film Festival in Portugal when the result for Brexit was announced on Friday morning.
FEST is a great example of EU cooperation at its best as the attendees come from every member state of the EU with a common love of feature film and a willingness to share information, experience and education amongst up and coming European film makers.
There was a general sense of disbelief at the result, followed by sympathy for us Brits who had voted remain. Later on there was a slight sense of anger too. I asked the festival's Director over dinner how the Portuguese generally felt about Brexit. He said to me candidly that they did not care what happened to the UK going forward but were now deeply worried about the long term effect on the EU as a whole. Even with high rates of youth unemployment, austerity and other perceived EU "evils" he and his colleagues still held a very deep routed sense of loyalty to the EU project and its philosophies of partnership.
Not a particularly proud day to be British.”
Derek Moore, MD, Coffee and TV
“Whilst I'm personally as devastated by the result as the rest of the media community, I do believe that there are a raft of opportunities opening up to us. Obviously the falling value of sterling will make our services more affordable to the rest of the world. Who wouldn't want to work with some of the most creative and pioneering companies on the globe if they could afford to?
But beyond that, I like to think that the media community as a whole exists almost an independent group in its own right. We will stick together, be inspired by each other, help each other out, work, play and commiserate together, both locally in the UK and with our friends around the world.”
Dave Throssell, Owner, Fluid Pictures
“My main fear for the future is stagnation. We are about to invest in new technology and spent the weekend convincing ourselves that it was still a good idea in this post referendum landscape. It still was, but how many other companies are having the same conversations and deciding to wait before embarking on new purchases, acquisitions and productions. I foresee a lot of green lights starting to flicker. We rely on highly talented freelancers, and in the past a large proportion have come from Europe. Whilst I don't imagine the doors at Dover slamming shut immediately, I am concerned that we may have difficulties recruiting such talent in the future.
What will happen with Tax Credits? Probably nothing in the mid-term but will they be sacrificed for some greater trade deal? Difficult to see an upside except maybe short-term exchange rate bonuses making us even more competitive in the States.
Neil Hatton, Chief Executive, UK Screen Association
“It's still early days to know exactly what impacts Brexit might lead to. I'd like to emphasise that the UK will continue to be an attractive destination for international production. We have great talent, great facilities and great tax incentives. The creative sector tax credits are part of UK law not EU and so we don't anticipate them disappearing any time soon. In the short term, VFX companies and studios servicing American clients will benefit from the lower exchange rate, although this will be subject to volatility, cannot be relied on and has negative effects elsewhere. In the broadcast sector, PACT has highlighted the risks for indies and if they suffer a downturn that is bound to affect facilities serving those clients.”
Russ Shaw, Owner, Nice Biscuits
I think it’s way too early to predict what the effects of Brexit will be on Post Production in the long term, however with sterling sitting where it is, on day two of trading, we’re certainly more competitively priced than we were several months ago! That said many investments are on hold until the markets settle and I would think that means commercial advertisers may well be re-considering their position before making large financial commitments.
Simon Frodsham, md, The Independent Post Company Ltd
"The freelance sector will experience little, if any, change. The only possible adjustments may be to EU employment law, which gives freelancers some fringe benefits. The UK is unlikely to change any such entitlement and, let's face it, they've got so much else to contend with I imagine any employment law tweaks are at least ten years away.
Other than that, Independent Post editors contracted by overseas production companies will probably find the exchange rates go in their favour - for the moment anyway. Otherwise, it's business as usual."
Nigel Hunt, Glowfrog
“One thing’s certain, it's going to become more challenging to run a creative company, but hopefully when we get through this common sense will prevail.
London's cosmopolitan vibe and multiculturalism is something that some of us are extremely proud of. With London being a global creative hub, we have embraced talent from all nationalities, especially the EU. However the uncertainty of Brexit on this European workforce is now unclear. We seem faced with two main choices; remain a member of EEA (like Norway) or WTO (like the USA, China).
Immigration will not change if the UK remains a member of the European Economic Area (EEA). Sadly for our EU friends this scenario seems unlikely now.
The alternative Global Britain Free Trade Option means that the UK will operate directly under the World Trade Organisation (WTO) rules, as do most developed and developing nations outside the EU such as Australia, Canada, the USA, Switzerland, India and China. Leaving the EU and EEA offers new opportunities to build bridges with other countries, such as developing visas for professions as opposed to those just linked to employers. This may sound like to positive scenario for exports but ignores where the labour that creates them comes from. The creative services sector is one of the most important industries in the UK generating £71 billion and creating jobs across the whole country. WTO may in effect be devastating for the UK creative industry bringing a return to skilled Tier 2 General visas for all EU and EEA members. This will bring in a minimum salary threshold of £35,000. Yes, many working in London earn more than £35,000 and will likely qualify, but it will have a massive culling off of anyone paid lower than this including all younger talent, entry to mid level positions and skilled support staff from the EU.”
Gina Fucci, Managing Director, Films@59
"In relation to the facilities sector, there may be a slow down in growth and further consolidation as investors "lay low". Some will see it as a time of opportunity. Thanks to the UK tax treaty, there may be more capacity for lower budget feature work which might keep things "ticking over". From my research, our industry has been facing a few challenges, that I think it will continue to face:
- delayed commisioning due to high level exec moves
- low margins - lots of work, but little leftover for investment.
- technological change
So the uncertainty brought on by the vote (and indeed the USA elections this November) could breed more caution but could also ignite collaboration! Manufacturers are certainly trying their best to sell and show confidence.
One article quoted that we have to remember that "the UK is the fifth largest economy globally putting it in a strong position when negotiating trade deals with both EU countries and elsewhere after Brexit. The UK is still the EU’s largest customer and a devaluation in sterling is likely to boost demand for UK exports as they begin to look cheaper. Where we have been dependent on foreign goods: AVID, Sony, Panasonic - maybe there are a few "hidden" gems?
The reality is, the facilities industry will probably "coast" and continue to concentrate it's efforts on finding ways to continue to support production creativity whilst finding efficiencies in time and budget.
I have written to our staff and reminded them that at Films at 59 it is: "business as usual" - continuing to work collaboratively, remaining calm, balancing opportunities and risks, delivering under pressure. We have always tried to embrace change.
I do believe that leaving or staying would have had implications. So it's up to all of us to now engage, gather facts, focus on our work and homes and make a difference in our communities. For our city, we are all part of Bristol's success and we have to see ourselves as part of: the Southwest, England, Great Britain, Europe, and Earth! I am hoping we can all channel courage rather than fear and stay calm, focussed and lead by example."
Patrick Fischer, Creativity Media
"The shock result of the EU referendum will affect the filmmaking community negatively in the short and long term. Most noticeably in EU MEDIA funding for companies, producers and funds like Screen Yorkshire. In terms of post-production I don’t think there will be a marked effect, films will still get made and weaker sterling will actually be helpful in attracting overseas projects. We are certainly seeing a very active film post-production market right now."
Steve Owens, Group CEO of Loveurope Group, owners of Locomotion Soho
"What we’re seeing in the immediate aftermath of last Thursday’s vote to leave the EU (and I’d remind everyone that leaving the EU doesn’t mean we’re no longer European!), is a fairly tectonic macro reaction across the entire economy.
Whilst in the immediate sense that doesn’t specifically impact Loco, it has clearly impacted on general business confidence and this will be felt across our client-base. We need to be realistic and expect this to have a generally negative impact on our clients short-term marketing spend. I’m therefore hoping for a fairly quick bounce back towards more normal market conditions, where our clients current marketing plans and 2016/17 budgets remain broadly intact in an immediate sense.
In the longer-term the challenge for the post-production sector and Soho specifically, really is to maintain that energetic creative culture and ability to attract the very brightest creative talent, that has made us the leading centre of excellence for the pan-European market. In this sense, those other European creative centres such as Amsterdam and Berlin, must be shaking their heads in disbelief, whilst rubbing their hands together at the opportunity the UK vote has presented to them.
That’s not to say we shouldn’t be confident and opportunistic ourselves!
Smart communication and technology has allowed the creative industries to flourish in an increasingly flexible and virtualised world, where talent is not defined by borders, territories or the ability of people to move freely between markets.
This actually presents a fantastic long-term opportunity to reinforce our position on the global stage. To reach out to new markets with renewed confidence, trade on our reputation for international excellence and build an increasingly virtual talent model that genuinely leverages the brightest creativity from across a world, that may now be brought more sharply into focus by the decision to Vote Leave.
So at the risk of sounding horribly clichéd, it’s a case of riding out the current rapids, steering a course for some clearer waters as quickly as possible and then plotting a course for some new oceans of opportunity…. apologies, that was horribly clichéd!"
Each month in the Televisual print edition we showcase the best work in post production, vfx, animation and graphics. Here's what appeared in the June issue
Axis Dawn of War III trailer
Axis worked with Canadian games developer, Relic Entertainment on this trailer for science-fantasy, real-time strategy video game Warhammer 40,000: Dawn of War III. Director Abed Abonamous worked with the Relic team to stay true to the established Warhammer 40,000 and Dawn of War lore, while pushing the boundaries of the art style. Abed said: “In game trailers, there is always a balance between daring art and commonplace expectations. Often, it’s usually a safer bet to rely on what is already known to please the audience. With this trailer, both Relic and Axis consciously treaded off the beaten path as often as possible.”
Bluebolt Peaky Blinders
BlueBolt continues as sole vfx vendor on Peaky Blinders for the show’s third series. Bluebolt brought back 1920s Birmingham including Charlie’s Yard and Watery Lane. Bluebolt also created a CG ocean liner and period Liverpool docks along with some large explosions.
Strange Beast Fanta spot
Strange Beast’s Andy Martin directed this spot for Fanta for Brazil and Mexico. The new ad takes the existing Fanta characters and puts them in the middle of modern teenage issues ‘throwing them a few surreal curveballs.’ The main action is animated in a traditional 2D style with the Fanta itself created using specially developed liquid CG technology.
Absolute Danepak ad
For Outsider director James Rouse’s new Danepak spot, Absolute added matte paintings and weather effects to every shot to increase the drama. For the exterior shots, matte paintings were combined with a lake at the bottom of the cliff. The rigging for the jeep was removed and comped into the plate too.
Peepshow Map of Hell
Peepshow created over 30 animated sequences combining live-action with composited animation for Nat Geo’s drama doc Map of Hell. The show visualises different cultures’ ideas of hell over the last 3,000 years. Peepshow turned to graphic novels, Jack Kirby and film poster compositions to create the stylised sequences and used a colour palette based on the comic book printing process.
Lipsync The Infiltrator
Lipsync Post colourists Jamie Welsh and Sam Chynoweth recently completed the grade of The Infiltrator starring Bryan Cranston. The film tells the true story of a US Customs official uncovering a money laundering scheme involving drug lord Pablo Escobar.
Passion Motorola Droid
Passion directors Kyra & Constantin directed these two online spots for Motorola Droid. The spots give a few instantly recognisable Emojis a life of their own after they escape from a smashed phone screen. The agency was VML and the producer at Passion was Juliette Stern.
blue 2.0/Lola a Midsummer Night’s Dream
Lola Post was sole vfx vendor and blue2.0 conformed and graded A Midsummer Night’s Dream, part of the BBC’s Shakespeare season. It stars Maxine Peake and is adapted by Russell T Davies. Lola’s Rob Harvey supervised the shoot, head of CG Tim Zaccheo and 2D supervisor Max Wright led Lola’s team back in London.
Time Based Arts Three ad
For Somesuch director Daniel Wolfe’s Three spot featuring Will.i.am and ‘Jackson’, Time Based Arts created elements, including clouds, CG horses and breaking glass, as well as adding in the light trail effects and building augmentation.
Encore London Love Nina
The See Saw Films/BBC series Love, Nina was graded by Encore’s Jet Omoshebi with online edit by Nick Tims. The 5x30 series is Nick Hornby fictionalised TV adaptation of Nina Stibbe’s bestselling book about her time as a nanny in literary north London. It stars Helena Bonham Carter, Sam Frears and Faye Marsay.
Hotspur & Argyle Bet Victor
Hotspur & Argyle’s Richard Swarbrick created this Euro 2016 campaign for BetVictor. Producer was Danny Fleet.
Locomotion Wagamama delivery
Locomotion’s Loco-create directed a series of stop-motion films for Wagamama’s launch of its take away and delivery service. The animator was Harry Dwyer and the grade was by Jon Davey.
In advance of EditFest London 2016, three editors behind films and TV series including The Empire Strikes Back, Footloose, Room, The Missing and The Crown tell Jon Creamer what it takes to create the perfect cut
Paul Hirsch Star Wars, The Empire Strikes Back, Ferris Bueller’s Day Off, Footloose, Falling Down, Mission Impossible: Ghost Protocol, Warcraft
When I start work on a project, my first task is to build the film as it is shot. So it is a process not of editing, but of construction and addition. It does involve selecting portions of the dailies, but the emphasis is not on cutting down, but of building up.
In the current digital era, there are no limits as to how long takes can run, so it has become common practice for directors to shoot resets within a given take, so there may be multiple takes with a single slate. As a result, the dailies may amount to several hours every day.
To deal with such a volume of film, I rely on my assistants to organize the material according to a method that works for me. I ask for a locator to be placed at the beginning of every reset. I also ask my crew to “stack” the line readings. That is, in every scene there is a small edit of all the lines spoken by a given character from every take, in order of the widest angle to tightest. It thereby enables me to quickly review the possibilities of coverage as well as the individual line readings. I consider what point in the scene I am dealing with, keeping in mind an ideal construction, in which the most dramatic moments are delivered in close-up. Though there are of course always exceptions to this.
In the best of all worlds, I would prefer to watch all the dailies in real time, but on some days there is so much extra material being filmed that it is just impossible if I am to deliver a first cut at the end of principal photography. Add to that a ‘B’ or ‘C’ camera, and perhaps a second unit, and you can see how finding shortcuts is imperative.
There is an additional benefit during the period when the director and I are working on his or her cut. When asked, “Is that the best reading of that line?”, I can bring out the stack, and we can quickly compare all the possibilities.
Although it is called a rough cut, or editor’s cut, my first cut is neither. It is not rough, as I try to make the cut as fluid as possible, (unless that is not the intention), nor does it represent what I believe to be the best cut of the picture.
In building up the scenes, I usually include as much as possible, at least to start with. So that first cut enables us to easily see all our choices, and it is the best starting point from which to begin the final shaping of the film. This is the most satisfying part of the whole process, when you begin to refine and reshape the footage to arrive at the final cut.
Nathan Nugent Room, Frank, What Richard Did, Tomato Red
Different directors court your opinion at different times in the process. I’m not someone who starts offering opinions too early in that process. If I do give my thoughts it’ll often be in broad strokes, generally about how a story would move rather than the specifics of any scene. I’m of most use to a director when the film starts being shot.
The script is something people are orbiting around right up until the shoot but once it is shot it is inherently changed. You make choices then whether to be loyal to every aspect of the script as you proceed or to engage with what you actually have on screen. That’s the only game in town: what you actually have. You have to be happy to be led down the garden path in ways you hadn’t imagined before. There are too many things changing during a shoot that it’s almost impossible to do a direct replica of any script.
It’s about reacting to the rushes and performances and trying to get scenes to work on their own level first and then seeing if there’s anything else in there.
I try to stay on board as long as directors are happy to have me there. I always want to be around for the final mix. It’s all very different. Room was relatively quick. We shot in Canada in October, November, December 2014 and then cut it in Dublin and locked by June. That’s good going as there were execs in London, Canada, the States. In another world that film could have been cutting for a year and it wouldn’t have been surprising.
For the director’s cut sometimes scenes will stay the way you cut them, other scenes you will recut about 40 times. You tend to focus initially on places where you feel you can do a lot better. There’s two things going on: how can we make the story better but also is this scene too long? Often you’ll spend seven or nine weeks doing the director’s cut.
It’s good to go and watch other films even over a weekend or an evening. Then you’ll come in the next day and look at your film in a brand new light. Everyone can convince themselves that something that isn’t working is working for lots of different reasons but for me it’s a big part of the job to never get lulled into that false sense of security where you think this is the best version of this scene that we can get at this point of time. You can totally reimagine it two days later. That psychological aspect is a big part of editing. You have to make sure you retain a creative objectivity about what you’re doing at all times and not convince yourselves this is working even if it isn’t. That’s what’s good about film post schedules: they’re longer than television. That’s what the time is there for, to figure out the kinks in the stories.
An essential quality for an editor is wanting to tell an interesting story, the need to discover ways to do that. The second one is longevity. An editor will need to be on board for sometimes seven or eight months. It’s about always staying locked in and engaged and being able to occupy the mind space of another person, in this case the director. It’s not all about you and trying to find your best way of telling a story. You do always find a way to express their vision. That takes time if it’s a new relationship.
Úna Ní Dhonghaile The Missing, The Crown, Doctor Who, Ripper Street, The Tunnel, Wallander
The first assembly is a very privileged place to be because it’s very instinctive. You’re trying to find the truth of the performances. When I’m in the later stages of locking I review my first assemblies again just in case there is something really great in there that through the notes and changes I could have lost. Sometimes your first assembly for some scenes stays until the very end.
Sound and music are so important. One of the seminal films for me from a sound perspective was Terence Davies’ Distant Voices, Still Lives. He used the sound design from a very subjective point of view and that has informed me as an editor. When I’m cutting I always try to find the subjective point of view. If it’s a dinner scene, there might be something going on in the subtext that’s more important to my cutting than just the dialogue. Sometimes the dialogue is telling the story of the scene but actually what’s happening under the dialogue is the thing that’s important. Then the craft of editing is how you can show that. That’s a beautiful challenge finding that point of view. Whose story is it? It’s not just about following the dialogue. I always try to find what’s at the heart of the scene and how best to structure it so that the audience empathise with that person.
I don’t think any editor can come to projects and impose their own style. The script is the first step and you grow from that and, with a great director, cinematographer, sound recordist, you begin to build. The script and the director informs the editor. And hopefully we always come with a fresh approach because the worst thing is the same edit style on every project.
On series, I’ve been quite lucky. In general, I’ve always done the first block or the last which is a good place to be. On a couple I’ve been in the middle. But even if you come into the middle block you’re never under pressure to just do what they did in the previous block. In general, each block has a different director and editor so there is a kind of freedom along with a respectfulness to what has gone before.
On The Crown, I worked with Julian Jarrold and Ben Caron and we came after Philip Martin and Stephen Daldry but the directors have had conversations before and Peter Morgan wrote all the scripts. The scripts are the blueprint that sets up the story. And the actors stay the same. Viewers don’t mind the style changing as long as the performance doesn’t suddenly change. You need consistency in character. That comes from the script.
A big skill in today’s climate where we do have a huge amount of material coming in to the cutting rooms is keeping a clear head. I don’t get snow blinded by it. I read the script again and go through the material and watch for anything that has truthfulness to it or has beauty in the composition. If you only watch the director’s selected takes you’re going to miss something incredible.
You need a good memory and a clear head so when all the exec notes come in you keep to what is right. All notes are valid but sometimes notes exclude each other. If you did everyone’s notes you’d destroy the thing. You have to be very diplomatic and very wise and remember what the story is about and why you’re making the film.