CONNECTING PRODUCTION & POST
BRINGING CREATIVITY BACK TO FIXED RIG PRODUCTIONS
ENVY has carved out a stellar reputation since launching in 2006,
consistently voted one of the UK’s top post houses by producers and peers in
Televisual’s annual Facilities 50 report.
The Multi-award winning, full-service post house ENVY, have made their name working on some of the finest documentary, entertainment, factual entertainment, scripted and short form projects in recent years. Their impressive portfolio includes series such as Once Upon a Time in Iraq, Stanley Tucci Searching for Italy and viewer favourites like The Voice UK, Top Gear and Too Hot to Handle.
ENVY’s reputation for fast turnaround multi-seat editing is beyond compare. Mike Cotton, Deputy Creative Director at Studio Lambert comments:
“Having worked with ENVY for many years I can’t speak highly enough of them. Their team understands the complexities of delivering fast turnaround projects like Gogglebox and they consistently deliver to the highest standards, both technically and creatively.”
Having expanded its Fitzrovia footprint to six high- spec and fully-equipped buildings, ENVY has now unveiled a new offering – a fixed rig record and media management solution called CAPTURE.
The new division is being overseen by a team with vast experience in the field – Head of Technical Operations Ricky Martin, Systems Specialist Toby Weller, and Location Supervisor Elliot Leigh.
Collectively they have amassed years of experience on-set all over the world, as well as all having worked with edits and creatives throughout the post production process on a variety of fixed rig shows - from First Dates and SAS: Who Dares Wins through to 24 Hours in Police Custody and Celebs Go Dating.
The ambition of the new division is to take fixed rig productions, make them simpler, smoother and more effective - from production right through to the final edit - ultimately helping to raise the creative bar on multi-camera shoots.
“I’ve sat in meetings where production teams are overwhelmed by the technology chat and what that will mean for their final programmes” says Martin. “We can explain it all clearly, and help to make sure their decisions benefit both the edit and post production process.”
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