Team ENVY

Find out what our team has to say about their time on the project.

Luke Carter, ENVY Online Editor

“We tried to make the project seem as real and in keeping with its surroundings as possible. I created a few shop signs that had to composited onto the exterior shop locations used that had been revisited post shooting, which was fun, matching the grain to give the composites (comps) a textured organic feel really helped bed them into the shots.

 

I predominantly used the action tool in flame, which is a very powerful compositing tool, to create all my comps. I used this in combination with the paint tool to create clean backplates which I then tracked using the planar or motion vector trackers. I composited the main character, Russell, walking down one street onto another, I was very happy with that as it was all hand rotoscoped. A request that came from the client was that the shop looked too quiet, so we had to comp more customers walking around, which I enjoyed immensely. I also created a look for the CCTV using sapphire digital damage to make the image look real and it worked really well.

 

It’s a very funny show, that looks great, been acted well and great to work on with the team at Roughcut TV!”

Ben Ormerod, ENVY Dubbing Mixer

“My main objective was to make the show sound great. As the programme was shot on a high street, there was some noise reduction and a little dialogue cleaning required. I wanted to give each location in the shop a different feel, but also to make the whole shop seem a bland soulless high street shop, which was what the team were looking for. For example, the shopfloor had some background noise of shoppers and the roof terrace I added in atmos to make it sound busier from the high street below. There was also some SFX added in to highlight the smoke and puffing sounds when the group are on the roof.

Once each location had its own soundscape created by me and the producers, that carried onto the other episodes as the locations largely stayed the same throughout the series. With a scripted project, you must help sell the story through the sound whereas a documentary, the sound is already there, and you don’t have to build up the world as much.

It was great working with the team at Roughcut on another fantastic, scripted comedy.”

Sarah Yeboah, ENVY Senior Producer

“I’ve worked on a few projects with Roughcut in the past so I have a great relationship with the team, it was great to have them with us at ENVY for Sneakerhead.

When a project comes in, we know when they’re shooting so can prepare the footage as soon as it comes in, ready for the Offline edit. With scripted projects, the team know what scenes are being filmed and how the story will come together in the offline edit. The team were in for an 8 week edit then our creatives spent a day on each episode for the grade and  online and 2 days for the mix.

It’s a great comedy and it’s lovely working with a team that’s quite small and passionate about their show, especially when a few of the team are actors in the show themselves. It really made me feel involved in the process and I hope we get to see more from the Sports Depot gang.”

Grading / Colour

Adding a splash of colour to your project is the Grading team. Our team can design particular looks to match the visions of how you want your show to look.

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.

Online

Once the Offline is completed, our experienced Online team will bring your project to life with their knowledge and skills.

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.

Audio

Our Sound department are able to create thrilling soundscapes, record and edit voiceovers and mix the most complex of projects.

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.