Matt Skilton, ENVY Dubbing Mixer
Being such an intimate and highly emotive documentary, it was important to deliver a very natural and authentic mix – allowing every emotion and every scene to be taken on its own merits. I reeled back the use of sound effects and took a very delicate approach to this project, ensuring that any potential distractions were removed and keeping the viewers focus on the narrative and dialogue throughout.
With shoot taking place across multiple locations and under many circumstances, it’s inevitable that the audio will be impacted in one way or another – be it unwanted noise from the surrounding environment or the slight muffling of the voice due to wearing a mask.
In the mix I cleared up all affected dialogue and removed any distracting ambient using Isotope RX noise reduction to make sure that all the dialogue came through clear and comprehensible. By clearing up the dialogue you allow the spoken words to clearly resonate, while preventing any subtle distractions that could detract from the documentary.
As with every show I work on a considerable amount of love, care & attention went in to mixing this documentary.
Paul Fallon, ENVY Colourist
The film was beautifully shot and we really wanted to let the footage and story speak for itself; keeping it natural was key. With this in mind my approach was to respect the colours, skin tones and lighting of each shot by using a controlled but fresh and contemporary colour palette.
I really enjoyed being part of such an amazing project highlighting the problems that teenagers with disabilities face when they reach adulthood, it was a pleasure working with such a dedicated and talented team.
Grading / Colour
We have six Baselight TWO colour grading suites all with the latest Dolby and Sony monitoring allowing our grading team to work at resolutions from HD up to 4K HDR. All suites are connected to a high-speed SAN and supported by a Baselight Assist, allowing imports/exports to happen in the background without interrupting the session.
Our online team operate across ten Avid Symphony suites and two Autodesk Flame systems all connected via high performance shared storage, working at resolutions from HD up to 4K HDR and beyond if required. They offer the latest plugins from both Boris and Sapphire, as well as the highest quality broadcast monitoring available. The team are highly experienced in large-scale multi-episodic productions as well as fast turnaround ‘day of transmission’ style projects.
Our Online Editors
Our Broadcast division has nine sound studios, all with VO booths alongside two additional Audio Prep rooms. All our studios are 5.1 capable with three studios being Dolby Atmos 7.1.4. All suites run the latest ProTools 20.12 software with the latest plugins. As well as mix, we also offer ADR, Foley and remote voice over.