Hot 100 2012 CRAFT & POST


there are some very subtle atmos- pherics moving across the forest, and falling snow was added.”


1 Aidan Farrell


Colourist, The Farm CREDITS INCLUDE


Downton Abbey, The Shadow Line


One of the founders of The Farm, Aidan Farrell has worked across a range of genres and is able to turn his hand to any type of program- ming. His recent credits include The Shadow Line, Downton Abbey, Outcasts, Inspector George Gently and Lead Balloon. He was recog- nised for his body of work and for pushing visual boundaries in fi lm, most notably television, by Bafta at this year’s Craft Awards, where he picked up the Special Award. Says Farrell: “The hardest thing for me over the years has been to constantly change my style; to always strive for a unique look if possible on whatever show I was doing. I’ve been like a dog with a bone. If I believe in it, I will fi ght for it.”


5 Nigel Heath Top Boy


feel. Says Urbye: “There were moments of violence but also lots of moments of tenderness in the series, which allowed me, Tat and Yann to create a new look and colour palette for each scene. Combined with the 2:40 crop, anyone watching just the fi rst few minutes would have felt it was something very different to the usual bright, clean video look of UK TV drama. It’s my best work to date.”


the spoof talent show had to be created from scratch, animated and graded prior to the shoot, and played out live during the shoot, together with thousands of CG individuals for the audience of the show-within-the-show.


Dubbing mixer, Hackenbacker


CREDITS INCLUDE Inside Men, Downton Abbey


4 Lucy Ainsworth-


3 Joel Collins and CREDITS INCLUDE Black Mirror


Daniel May Series designers


2 Thomas Urbye Whitechapel


Top Boy was one of the most visually striking programmes of the year, with director Yann Demange and director of photo- graphy Tat Radcliffe setting col- ourist Thomas Urbye the challenge of avoiding the cold and miserable look usually used on drama set in urban locations. Urbye set out to create a magical, hot and saturated palette by adjusting hues within the sky and backgrounds for a Technicolor


20 | Broadcast | Hot 100


Colourist, The Look CREDITS INCLUDE Top Boy,


Joel Collins and Daniel May were nominated for a Bafta in the Pro- duction Design category at this year’s Craft Awards for their work on Charlie Brooker’s Channel 4 show. The episode, 15 Million Merits, is about a dystopian world in which the only way to escape a life of physical drudgery is by impressing judges in a talent show. Collins said that with a visual effects shot in almost every frame, 15 Million Merits was “every designer and producer’s nightmare”. Both the graphics on the walls of the sets (often a collage of specially-shot video clips) and


Taylor and Angela Barson


VFX producer and VFX supervisor, BlueBolt CREDITS INCLUDE Game Of Thrones, Great Expectations


Set up in 2009 by Lucy Ains- worth-Taylor, Angela Barson and Chas Jarrett, BlueBolt scooped two gongs at this year’s Visual Effects Society ceremony for its work on HBO’s Game Of Thrones. The London-based visual effects company won in the Outstanding Supporting Visual Effects in a Broadcast Program and Out- standing Created Environment in a Broadcast Program categories, for the enormous ice wall that features in the series. Barson said the main challenge with the shot was showing scale. “It was a fi ne balance between adding the atmospheric depth cues and not hiding too much of the wall. We also needed to give it some life, so the trees are moving slightly,


The tense opening scene set the tone for four-part BBC1 drama Inside Men, which was described by one critic as “a knuckle-gnaw- ing thriller”. Soho audio post house Hackenbacker, which was tasked with providing an “aurally spectacular” soundtrack for the BBC series, spent three months on track laying, ADR and fi nal mixing. Says dubbing mixer Nigel Heath: “To help create the sound director James Kent was looking for, we binaurally recorded the ADR and integrated this with similarly re-recorded pre-mixes, which we achieved by literally throwing a dummy head mic around in front of a set of speak- ers and re-recording the results. This was a really interesting and enjoyable approach to the ADR, and we were all very pleased with the outcome.”


6 Phil Dobree


VFX creative director, Jellyfi sh Pictures


CREDITS INCLUDE Inside The Human Body, Planet Dinosaur


Jellyfi sh set out to make the fi rst episode of Inside The Human Body, which follows the story of conception inside the female body,


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