MANAGING LARGE SHOOTING RATIOS
MOVING IMAGE DEAL OR NO DEAL
The Farm Group’s editing outpost in Bristol has already worked through 1,500 episodes of Endemol UK’s C4 quiz hit Deal or no Deal – and there’s at least another 577 to come.
Over the next two years, the nine Media Composer suites housed alongside the Deal or no Deal set in a dedicated studio, now managed by BBC Studios and Post Production, will be busy on the next two series, which have recently been recommissioned. For the first time the show is being captured on XDCAM discs, making it a fully tapeless workflow apart from final DigiBeta delivery.
Five media streams are captured
per show – two are focused on Noel Edmonds and the contestants, two switched ISOs are used for audience reaction and family and friends, and there’s an additional one on the gallery.
A GREAT DEAL OF
“Our edit assistants ingest all the media straight into a 16TB Unity before preparing a flash edit (rough cut) in the Avid, grouping clips, sound effects, music beds and credits so that when it’s handed over to production, editors can begin to make immediate cutting decisions,” explains Duncan Armstrong, The Farm’s md of offsite operations. The show is cut at online resolution over three days, which sounds ample for a 30-minute show, but with no budget or time for an audio dub, the tracklay and mix must also be completed in Avid. The show is standard def but posted on HD-capable Media Composers – seven on Adrenalins, two on Mojo. After a grade in Baselight, the programme is finished in Nitris and captions added.
WORK PER EPISODE • Five streams of XDCAM rushes ingested into Unity • Episodes cut at online res in Media Composer
“Our edit assistants ingest all the media into a 16TB Unity before preparing a rough cut in the Avid”
DUNCAN ARMSTRONG Md, offside operations THE FARM GROUP
MOVING IMAGE SEVEN DAYS
C4’s ambitious docu-reality series from Studio Lambert required its edit team to work 12-hour shifts.
Each 48-minute episode, following the lives of a range of diverse characters living in Notting Hill, is broadcast in the same week it’s filmed, bringing with it not only extremely tight deadlines but a need to keep the edit loose enough for last minute story changes. “We cut three edits for each episode, each with slightly different storylines and material so that the stitch editors and producers always have another option if they need it, “ explains story editor Will Teversham, a freelancer on the books of The Independent Post Company. Teversham is one of six story editors who separate material into sections with minimal cutting within each
SEVEN DAYS, UP TO
segment to preserve as much of a possible storyline as they can and to give the series a naturalistic tone. Stitch editors then cut between these, building stories that are likely to be continued into the following episode. Up to 20 hours of XDCAM rushes are used to build each show, which is cut at Evolutions. The editors have two sets of logging annotations plus edit notes from the field to work with as a guide. Footage is digitised into a Unity and accessed at online resolution from Media Composers for offline, with online on Symphony.
“They are long days but it’s
rewarding when you see the transmission on air, because when you cut in isolation you are relatively unaware of how it will all come together,” explains Teversham.
20 HRS OF RUSHES • 20 hrs edited at online res • Story editors organised rushes using bin structure of Media Composer
“We cut three edits for each episode, each with slightly different storylines and material”
WILL TEVERSHAM Editor repped by INDEPENDENT POST CO
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