the options he had to capture in XAVC. It felt like a bit of a game-changer. The show was also being supported by a substantial amount of multi camera set-ups and PSC shoots – all being recorded locally on Arri Amiras. The director was pushing for quality, so we had to design a workflow that delivered it. The ENVY team were able to centralise all fixed rig capture and location data wrangling, supported by on-site edits suites for VTs being cut and played-out during the record. The location was remote with very limited connectivity and we were utilising all the 4G we could muster to stream multi-views to off-set stakeholders. ENVY created daily capture reports and transported proxies back to London, so the edit could start immediately. For a brand-new format, it came together very smoothly”.
questions I had, and enabled Laura to comment as I was working – it was just like having her in the room. “Boris BCC and Sapphire plugins were available in all
the ENVY offline suites to create fresh, eye-catching and contemporary looks to the GV and drone footage that was applied to all the transitions used to book-end each section of live-action. “The show was shot primarily on fixed-rig cameras. Other shots required re-framing to exclude crew or equipment, so I created a palette of effects that I could simply drop-on and adjust on a shot-by-shot basis (re- frames, clones, paint-outs, etc.) “Once all these on-line processes were complete,
and the sequence rendered, Laura and I reviewed simultaneously (she was remote throughout) and we made final tweaks.”
Ricky Martin CAPTURE Head of Technical Operations “This was one of the first big productions following the lockdown in early 2021. Being able to give not just our technical services, but add our editorial experience to what was a very fast-paced on set edit, made the production really exciting to be involved in, especially after so many of the crew having had quite a long hiatus from the world of big fixed-rigs. “To provide a fully redundant record workflow with
three copies of the media, all content was recorded twice on distinct systems to CAPTURE’s specialist RAID- storage systems – and then written to LTO7 tape in the field, which would be removed to a secure location every few hours. The entire CAPTURE system is protected by UPS to ensure that media cannot become corrupted or lost during unexpected power failures.”
ENVY POST PRODUCTION
Dicky Everton ENVY Online Editor “The brief was simple – make the show look awesome! “I worked closely with the Executive Producer, Laura
Woolf, throughout the on-line for the entire series. Laura has huge experience of the genre, and had a clear vision for this particular series, both in terms of editorial content and overall creative design. During all the on-line sessions we used WhatsApp audio to keep in touch, and my output was permanently available for Laura to watch via Streambox. This facilitated immediate feedback on
Paul Fallon ENVY Colourist “We wanted to enhance the beauty of the photography and make the most of the amazing location with stunning ocean views. To complement the imagery I used a fresh, bold and contemporary colour palette. The result is a vivid & vibrant grade – matching the visual grammar and vibe of the show.”
Watch Ready To Mingle on ITV HUB.
Ben Ormerod ENVY Dubbing Mixer “The location recordists had done a great job, so we had a good set of ISO tracks to mix the dialogue from. Despite this I spent a good amount of time cleaning unwanted background noise to ensure that all the edits are smooth and increase the clarity of the dialogue mix, which in turn allows the music to punch through where necessary. “Additionally, there was some home recorded ADR that needed to be bedded into the production dialogue. With ADR it’s important to make everything as seamless as possible as you don’t want to ruin the TV magic and have noticeably different audio feeding out to viewers. I used the Isotope RX application to smoothly embed the recordings and maintain the dialogues congruence. “Overall the mix is dynamic and punchy, so as to match the style of the show”.
ENVY is a multi-award winning Post Production facility providing HD, UHD, 4K, and Dolby Vision HDR picture alongside 5.1, 7.1 and 7.1.4 Dolby Atmos audio studios across 6 sites in Central London.
ENVY provides over 200 suites for Off-Line/On-Line editing, Baselight Grading, Sound and 2D and 3D VFX and have recently added 2 new divisions. REMOTE, a brand new platform designed by ENVY to bring Production, Editing On-Site and Editing Remote together and CAPTURE, a new fixed rig division. All this supported by creative and technical teams who thrive on collaborations with their clients.
ENVY has worked on a host of EMMY, BAFTA, RTS, Grierson, and D&AD winners to name a few and regularly work on projects such as Gogglebox, The Voice UK and Top Gear. ENVY’s creative staff has also been honoured with prestigious recognition with numerous awards including RTS and BAFTA.
www.envypost.co.uk
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
