MULTI-CAMERA REALITY AND DOCS


FACTUAL TV


Recently, the production has also installed


monitors in the front of the ambulance, so that the director can check camera framing and also keep on top of what is happening in the back of the vehicle – to monitor the story as it develops and to note key developments and conversations that can be subsequently followed up with interviews. Dialogue search in the edit is a tech advance


cited by many of the team on Too Hot to Handle as a particular help in big reality shows, says Thames’s Amelia Brown. The AI powered tech can quickly find all relevant clips by simply typing a word or phrase, giving editors more time to hone the story. Love Island exec producer Richard Cowles


also picks out tech that has really helped production of the series. He cites 3D space capture Matterport, which is often used in the real estate industry. Love Island’s designers have adopted the tech as a location tool to create 3D walkthroughs of a villa. The designers then plot their design on top of


the 3D image of the villa, working out remotely where the cameras should be placed and what lenses to use. All this cuts down on recce-time and travel. “It has been quite revolutionary for us when we are doing these massive shoots which require so much technology,” says Cowles. Cowles also cites Secure Reliable Transport


(SRT) streams which allow execs to screen initial edits of the show – wherever they are in the world – and provide notes for a final cut. “There


AMBULANCE: DRAGONFLY TV FOR BBC1


Peter Wallis-Tayler, executive producer, Ambulance at Dragonfly


Tell us about the Ambulance set up? The USP of ambulance is that everything’s happening at the same time - that simultaneous picture. That intercut between stories is all completely genuine. To do that we have 11 cameras rolling with directors at any one time. They’re all shooting on FX9s. Then we have additional vehicles that are rigged with mini cameras. We have five ambulances that are rigged with six cameras each. And then we have an additional two resources as well, such as helicopters or cars. It’s a lot of cameras whirring at any one point. The directors on the ground work independently. They are equipped with the FX9, and they are responsible for the mini rig


setup that’s built into the ambulance.


How much footage do you capture? It’s 6,500 hours – a colossal amount of footage [for a 12x60-minute series.] We have two data wranglers…who manage the footage coming through.


How long are you in the edit? At least 10 weeks per film. People think that is quite generous. But the first three weeks it’s just watching and watching [the material]. It’s a lot to get through.


What size team are you? The shoot team is about 40. Over the whole year, when you include all the editors and assistant editors and all the things involved, it varies between 60 to 70. Our core production team is about six people.


Autumn 2022 televisual.com


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