BEST DOCUMENTARY SINGLE
For 30 years, Clear Cut has built a preeminent reputation for providing highly creative post- production, with a focus on documentaries, current affairs, and factual entertainment, delivering to every global broadcaster including Netflix, Amazon and Disney+.
TRUTH MORE RIVETING THAN FICTION
1000 Years a Slave (Uplands TV for Channel 5 and Smithsonian Channel)
Offering full end-to-end post-production (including 4K, HDR and SDR) across multiple sites in London and in Birmingham, we deliver customised post solutions for every need. Clear Cut Group comprises Clear Cut Pictures for non-scripted programming; The Edit Store, a current affairs and fast turnaround specialist; Clear Motion for VFX; and, from our regional base in Birmingham, we deliver remote and onsite solutions through our dedicated regional facility Clear Cut Nations & Regions.
Felicity Morris, director of Netflix documentary feature The Tinder Swindler, from Raw TV, relates the production story of this romance, horror story and revenge thriller, with a plot as gripping as the best drama
Having spent most of her working life at Raw Felicity Morris had particular admiration for the company’s twisty, gripping feature documentaries The Imposter and Three Identical Strangers. “I always looked up to them and thought, ‘oh, gosh, wouldn’t it be amazing if one day I could make a cracking feature doc?’”
My Life As a Rolling Stone (Mercury Studios for BBC Two & Epix)
Clear Cut has delivered remote working for over 7 years and offers our services onsite, remote or as a combination to suit each production team ensuring the same the same levels of creativity and editorial control no matter your location.
That chance came along when US production company AGC asked for bids to make a documentary about Simon Leviev, a notorious fraudster using Tinder to con an array of young single women. AGC had gained access to two of his victims, after the Norwegian newspaper
VG published an extensive investigation outing him as the ‘Tinder Swindler’. As it was a European story they asked for UK companies to pitch to it, and Raw leapt at the chance.
Morris was fresh from producing Raw’s pandemic hit Don’t F**k with Cats, where the narrative unfolds largely through desktop storytelling. With Tinder Swindler, “I was thinking, well, there’s all of these WhatsApp’s! Can we bring that into the storytelling? And I think that Tinder Swindler was just a leap - instead of being computer graphics, it was mobile.”
My Grandparents’ War (Wonderhood Studios for Channel 4)
clearcut.cc BD 20
televisual-bulldogs.com
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