Team ENVY
See what our fantastic team had to say about their work on the project.
Elliot Leigh, CAPTURE Location Supervisor
“A fixed rig show of this calibre had not been done before by Prime Video, so it was incredibly exciting to be part of such a new format and have the opportunity to create a workflow from shoot to edit that met all the high standards of Prime Video’s usual programming.
It was evident from our first conversations about the show that fast turnaround and slick organisation was important to the client and the broadcaster to achieve their creative objectives. It was therefore completely rewarding to see CAPTURE’s full complement of tools and services come together on one project to achieve this.
The project was vast, CAPTURE processed over 1270 camera cards whilst onset. All of which were backed up to three locations, written to LTO tape, transcoded and then all detailed back to production and shoot teams on customised camera reports.
The fixed rig record and camera footage were prepared by our own editorial team on location to allow review by directors and execs in the field, and to handover to Studio Lambert’s editing team back in London – all this achieved within 24 hours of the footage being recorded.”
Barrie Pease, ENVY Online Editor
“The vision from the producers was to create the soft, glowing sheen of a ‘traditional’ American high school.
I had a chat with the Producers at the start to find out what they required on the Online side and they provided a document of things they wanted to be looked at. A lot of my work revolved around painting out camera equipment, crew members, UK electrical power sockets, etc. Other jobs included blurring and sharpening objects and backgrounds, rotoscoping and stabilising any handheld shots that required it.
Some reality shows will keep their cameras in their shows but the team on Lovestruck High wanted them removed as that would retract from the illusion of this all-American high school world. I would select a colour from the wall to soft edge and matte. If it was from a fixed camera, then it was simpler to paint over and then rotoscope if anyone walked past, but handheld shots would require more attention to detail.
I had to also be mindful of the different delivery specs required for Prime compared to a terrestrial channel, but I have a lot of experience in Constructed Factual programmes; programmes with a combination of fixed rig cameras, mixed with handheld camerawork and interspersed with master interviews which drives the narrative forward, but with this show, the added layer of creating the look and feel of an American high school.”
