A Week at Endemol
Thursday 5th March
09.30 – 13.45
Report to Liz Bowley – Post Production (edit/vision mix)
You will observe/work with an Edit Producer and Editor
Lunch Unit A
14.50 – 16.45
Report to Dan Winterburn, Vision Mixer in Gallery
In the morning I was escorted to the editing department.
Blackdog is a editing company based in London with an office within the Endemol building specifically dedicated to Deal or no Deal. This means that the show can be filmed and edited at the same location and the edits are usually three to foru weeks behind the shoot, which is usually 6 weeks behind airing. Because the tapes are literally walked from the gallery directly to the edit suites by the online editor working with Blackdog, this avoids tapes going missing or being destroyed en route in some way, it also maintains Endemol's control of its product. They aim for a four day turn around, from shooting the show through editing and up to head office in four days for each programme. Its a very tight schedule leaving no room for error. Although I was told by Cal, the editor I was placed with, that there have been some very down to the wire experiences, " with minutes to spare" was the direct quote. They edit in the first two 1/1 days then the editing producer previews the show and sends it back for changes and then it goes up to the producers where without any further changes its goes on the Channel Four ready for broadcast.
According to Cal the most difficult shows are the most boring ones. When no one wins and no one is funny and Noel is trying is hardest to make something happen. "Its hard to make something funny or interesting when it just isn't" he said.
"Then we just have to work really hard and make something look interesting with edits when it isn't".
It was very interesting to me to watch something being edited in Avid instead of Final Cut.
As the show is basically a live event that's edited afterwards to get it to fit its time slot, Avid is far more practical since its designed more for live TV.
Its more instantaneously responsive than Final Cut, although Cal did admit that Final Cut was slowly taking over the editing field and certainly any editor would need to be able to use Final Cut as readily as Avid to work.
The afternoon was spent back in the Gallery with Dan Winterburn a vision mixer. This shows again how 'live' Deal or no Deal truly is. Dan vision mixes the show as it films doing basically a live edit. He watches the monitors and picks each camera as is shoots for the main mix. Clearly this is more than tidied up afterwards in the edit, but it does go a long way to give the show it's 'live' feel and complements the camera work, especially the handycam. Deal or no Deal has twice as many cameras as any other game show and plays up its trademark sweeping camera moves and close ups of cast and audience to great effect creating the tension and drama tha show is famous for. Much of this is accomplished in the gallery during shooting by the vision mixer.
I can imagine that vision mixing can become addictive. Its all about spontinaiety and confidence and style, and could be quite the power trip. I would love to have a go, but I'm not sure I have the nerve for it.
Link: http://www.dealornodeal.co.uk
link:http://www.endemoluk.com/?q=taxonomy/term/1&tid=1
Thursday 5th March
09.30 – 13.45
Report to Liz Bowley – Post Production (edit/vision mix)
You will observe/work with an Edit Producer and Editor
Lunch Unit A
14.50 – 16.45
Report to Dan Winterburn, Vision Mixer in Gallery
In the morning I was escorted to the editing department.
Blackdog is a editing company based in London with an office within the Endemol building specifically dedicated to Deal or no Deal. This means that the show can be filmed and edited at the same location and the edits are usually three to foru weeks behind the shoot, which is usually 6 weeks behind airing. Because the tapes are literally walked from the gallery directly to the edit suites by the online editor working with Blackdog, this avoids tapes going missing or being destroyed en route in some way, it also maintains Endemol's control of its product. They aim for a four day turn around, from shooting the show through editing and up to head office in four days for each programme. Its a very tight schedule leaving no room for error. Although I was told by Cal, the editor I was placed with, that there have been some very down to the wire experiences, " with minutes to spare" was the direct quote. They edit in the first two 1/1 days then the editing producer previews the show and sends it back for changes and then it goes up to the producers where without any further changes its goes on the Channel Four ready for broadcast.
According to Cal the most difficult shows are the most boring ones. When no one wins and no one is funny and Noel is trying is hardest to make something happen. "Its hard to make something funny or interesting when it just isn't" he said.
"Then we just have to work really hard and make something look interesting with edits when it isn't".
It was very interesting to me to watch something being edited in Avid instead of Final Cut.
As the show is basically a live event that's edited afterwards to get it to fit its time slot, Avid is far more practical since its designed more for live TV.
Its more instantaneously responsive than Final Cut, although Cal did admit that Final Cut was slowly taking over the editing field and certainly any editor would need to be able to use Final Cut as readily as Avid to work.
The afternoon was spent back in the Gallery with Dan Winterburn a vision mixer. This shows again how 'live' Deal or no Deal truly is. Dan vision mixes the show as it films doing basically a live edit. He watches the monitors and picks each camera as is shoots for the main mix. Clearly this is more than tidied up afterwards in the edit, but it does go a long way to give the show it's 'live' feel and complements the camera work, especially the handycam. Deal or no Deal has twice as many cameras as any other game show and plays up its trademark sweeping camera moves and close ups of cast and audience to great effect creating the tension and drama tha show is famous for. Much of this is accomplished in the gallery during shooting by the vision mixer.
I can imagine that vision mixing can become addictive. Its all about spontinaiety and confidence and style, and could be quite the power trip. I would love to have a go, but I'm not sure I have the nerve for it.
link:http://www.endemoluk.com/?q=taxonomy/term/1&tid=1
1 comment:
3 x photos, 2 x links C&P (same), desc.
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