Team ENVY
Our creatives had a great time working on the project, here is what they had to say.
Elliot Leigh, ENVY CAPTURE Location Supervisor
“Working with Optomen and Tyson was a great experience. It was as entertaining to make as it was to watch. Wherever his career goes next, we hope we are there to capture it.”
Graeme Hayes, ENVY Colourist
“With the nature of a docuseries, the master interviews were shot at different times during production. The challenge was to make sure these interviews looked consistent across the programme. As well as this, the series was shot on a mixture of cameras such as drones which captured the Morecambe beaches and coastal beauty and Go Pro’s for car interiors. These cameras were intertwined with Log footage to shape the series.
The grade has a subtle palette of gold throughout, to acknowledge Tyson’s nickname, The Gypsy King. However, we also wanted the grade change to reflect the mood of the scenes. For example, one part can be bright and breezy when Tyson is at home with his family but, when there are moments where he reflects on his mental health, the grade is subtly darkened so it remains natural but does not take away from the moment on screen.
I graded the series in HDR Dolby Vision for UHD within an Aces colour managed workflow. After the online had been completed, I did a Dolby trim pass for SDR to maintain consistency between the HDR and SDR.
Overall, it was a great series to work on and it was great collaborating with the team from Optomen, we were all incredibly happy with the final result.”
Adam Grant, ENVY Online Editor
“I began the Online for this series and established the ‘house style’ with the Executive Producers. One of the key elements which we worked on was the split screens whenever a new subject or location were introduced and how that would look. As we were working on Flame Autodesk, we had to rebuild the split screens from scratch but were able to finesse the look the Offline team wanted to achieve, such as the speed of transitions and thickness of the borders. Once we were happy with the look of the split screens, we had a collection of templates which we could reuse later.
I was particularly pleased with a photo replacement shot, where the team wanted a more modern photograph composited into a photo frame. To achieve this, I utilised Flame’s perspective grid tracker which tracks camera movement for complicated composite shots. I then added in reflections to create the illusion of glass being in front of the photo.”
Luke Carter, ENVY Online Editor
“Adam and I discussed the project and what the clients were looking for in terms of aesthetic and feel.
As we were delivering the show to Netflix, which require EXR Deliverables, we harnessed Flame’s capabilities to implement a tailored workflow, well-suited to the task.
Across the whole series, we performed a general clean up and polished a really well shot production, including shot stabilizing, painting out drones from view and obscuring number plates on Tyson’s cars. The online is also a chance for us to pinpoint and correct potential continuity errors, such as clocks in the background. Throughout the process, Adam and I were in communication with Graeme in the grade, seamlessly replacing any shots that were being adjusted to enhance the continuity further.
We both had a great time working with the Executive Producers and Series Producers on the show and together we were able to make the series look fantastic – it deserves all the success it’s getting on Netflix!”
Rada Danilovic, ENVY Dubbing Mixer
“Due to the nature of documentaries, microphone options were occasionally limited in some scenes and we sometimes used solely camera mics. In order to get best possible results from those recordings I utilised iZotope’s noise reduction and restoration suite within Avid Pro Tools.
At Home with the Fury’s is for the most part based in and around Morecambe Bay. In terms of sound edit and design I was able to cover the area with UK seaside ambiences, which are widely available in SFX libraries. However, in each episode we travel to an additional location outside of the UK. The main task here was creating authentic backgrounds which helped establish new locations for the viewer and drive the narrative. To segway between the two, we designed various transitional SFX which were then mixed with musical elements and stings supplied from the offline editors’ projects.”
