MULTI-CAMERA REALITY AND DOCS
FACTUAL TV
and you can spend more time on it. And that is really important for Love Island, which is [filmed] only about 36 hours before it’s on TV. On I’m A Celebrity, it’s 24 hours. The more time we get in the edit, the more crafting we can do.” Amelia Brown, managing director of Thames
Television – which co-produces Too Hot To Handle with Talkback – echoes Cowles point that production tech has evolved to allow for better quality reality shows. “What’s amazing is the difference in what fixed rigs and hothead cameras can capture now in comparison to when I started working in telly on Big Brother many years ago. They look very good and clear – there is no more fuzziness at night-time when you’re not quite sure what you are seeing. And they also move so much better – they are really flexible and versatile.” She likens the improvements in production
technology to the development of the iPhone over the years. “Think about the photos you could take on your phone camera 15 years ago, and what you can do now.” It’s a similar story on Dragonfly-produced rig
series Ambulance, which recently began its ninth series on BBC One. Executive producer Peter Wallis-Tayler says
the production team has focused on honing and refining the technology underpinning the show to make it as user friendly as possible. “We don’t want to have a set up that feels
intrusive,” says Wallis-Tayler who explains that the tech has been developed to be as hands-off
LOVE ISLAND: LIFTED ENTERTAINMENT, ITV
Richard Cowles, managing director, Lifted Entertainment and executive producer Love Island
Tell us about the Love Island set up? Series eight of Love Island had, at its peak, about 350 crew members. It is a personnel hungry show because it’s running for eight weeks constantly. In the villa, we’ve got at about 80 cameras – a mixture of pan and tilt, remote zoom hotheads and then we’ve got a rail cam and a jib. We’ve got eight line cameras, which are not in use all the time. About four of those are used by operators from hides around the villa and garden. And then we’ve got PSC crew, for off rig dates and challenges. All of that feeds into four streams. They’re separately recorded feeds - a main and
three ISOs. And those all get recorded into a Nexus storage system, which is pretty much immediately available to the edits.
How much media do you record? A rough estimate would be nearly 400 hours per day of media. So, 21,000 hours of rushes over an eight week run. All of this is dual recorded - in Nexus, and in storage, as well, for redundancy in case something goes wrong. That doesn’t even factor in the PSC shooting, which is about 10 terabytes of rushes over a series.
What happens next? Then it all gets logged. We create digital edit lists and story lists. And then it goes through 13 edits suites that are all based in Majorca. Over eight weeks, that’s 1173 editor shifts and 1063 edit producer shifts.
Atumn 2022
televisual.com
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