FROM CAPTURE TO MASTER
ENVY provided full end-to-end services,
from location workflow, on set editing & record, right through to the post-production and
final delivery on Potato’s (Part of ITV Studios) new dating show Ready to Mingle.
Hosted by comedian Katherine Ryan, the new series follows a single girl in the search for her perfect partner, as 12 male suitors compete for her affections and the chance to win a big money prize. However, in a mischievous twist, not all the boys
are single with a number of them being guided by their partners in pursuit of the prize. Taking up residence in a luxurious house, the single girl will get to know all the boys through activities, games and dates, eliminating each boy one-by-one until her ‘dream man’ remains. Which boy will be left standing? Can she suss out who is the real deal? They may not all be single, but they are all Ready to Mingle.
CAPTURE
ENVY’s CAPTURE team delivered full record, on set edit and media management solutions for Potato’s new dating series Ready to Mingle. CAPTURE rolled out its custom solution to record eight HD streams – at XAVC Intra 100Mbps – whilst simultaneously creating low-resolution proxy media, ready for editing on set and transfer back to ENVY to be made available for the edits, both in Fitzrovia and working remotely. On set, the CAPTURE team supplied a full Avid
infrastructure to allow fast turnaround VT packages to be edited from both fixed-rig and PSC content for play-in to the contestant’s partners; giving them a window into the goings on within the main house. Aside from the fixed-rig workflow, a large portion of the production took place away from the main house and was shot using ARRI Amira and ARRI Alexa Mini – shooting Apple Pro Res HQ 422 – with the resulting camera cards being handed over to CAPTURE’s technical operators for full back-up to three locations. As part of the media management, CAPTURE produced
interactive shot logs for every camera card, including thumbnails outlining the content of the card as well as a full round up of all the technical metadata available for every single clip. Full detailed reporting of storage totals and a breakdown of the content received were supplied to the production team every day. All high-resolution files were brought back to London at the end of the project and hooked into ENVY’s nearline storage estate.
Robert Le Merle ITV Head of Technology - Non Scripted “Ready to Mingle was a new show and there was an extra focus on the imaging pipeline for this series. Fixed rig shows always generate a huge amount of media, so the chosen capture codec can have a significant cost impact. It’s a difficult balance to get the raw picture quality needed for post but not drown in data storage and with limited choices on offer. Recording systems are traditionally homogeneous in their codec licenses and many are built around quite old formats. “I was immediately interested when Ricky told me about
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119 |
Page 120 |
Page 121 |
Page 122 |
Page 123 |
Page 124 |
Page 125 |
Page 126 |
Page 127 |
Page 128 |
Page 129 |
Page 130 |
Page 131 |
Page 132 |
Page 133 |
Page 134 |
Page 135 |
Page 136 |
Page 137 |
Page 138 |
Page 139 |
Page 140
