Tag Archives: Stitch Editing

Stitch cuts down 200+ hours of footage for TalkTalk Xmas spot

Can you feel it? The holidays are here, and seasonal ads have begun. One UK company, TalkTalk — which provides pay television, telecommunications, Internet and mobile services — is featuring genuine footage of a family Christmas. Documenting a real family during last year’s holiday, this totally unscripted, fly-on-the-wall commercial sees the return of the Merwick Street family and their dog, Elvis, in This is Christmas.

Directed by Park Pictures’ Tom Tagholm and cut by Stitch’s Tim Hardy, the team used the same multi-camera techniques that were used on their 2016 This Stuff Matters campaign.

Seventeen cameras — a combination of Blackmagic Micro Studio 4K, a remote Panasonic AW-UE70WP and Go Pros — were used over the four-day festive period, located across eight rooms and including a remote controlled car. The cameras were rolling from 6:50am on Christmas Eve and typically rolled until midnight on most days, accumulating in over 200 hours of rushes that were edited down into this 60-second spot.

In lessons learned from the last year’s shoot, which was shot continuously, this time video loggers were in place to to identify moments the rooms were empty.

“I think we had pretty much perfected our system for organizing and managing the rushes in Talk Talk’s summer campaign, so we were in a good position to start off with,” explains editor Hardy, who cut the piece on an Avid Media Composer. “The big difference this time around was that the whole family were in the house at the same time, meaning that quite often there were conversations going on between two or three different rooms at once. Although it did get a little confusing, it was often very funny as they are not the quietest of families!”

Director Tagholm decided to add a few extra cameras, such as the toy remote-controlled car that crashes into the Christmas tree. “This extra layer of complexity added a certain feel to the Christmas film that we didn’t have in the previous ones,” says Hardy.

Behind the Title: Stitch Editing co-owner/senior editor Tim Hardy

NAME: Tim Hardy

COMPANY: Stitch Editing and Homespun

CAN YOU DESCRIBE YOUR COMPANY?
A boutique editing company specializing in TV commercials, digital content, music videos and films. We have offices in London and Los Angeles.

WHAT’S YOUR JOB TITLE?
Co-owner and Senior Editor

WHAT DOES THAT ENTAIL?
As a film editor I have worked on thousands of projects over the last 20 years. I’ve also won numerous awards from D&AD, British Arrow and a Cannes Lion for Best Editing.

As a co-owner running a busy creative shop I do everything you can imagine — from formulating future business plans to bringing on new talent and running the short film competition Homespun Yarns.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
The other day I fixed a wobbly toilet roll holder.

WHAT’S YOUR FAVORITE PART OF THE JOB?
Seeing our young, up-and-coming talent start to break through. As an editor it’s working on big, exciting pieces of creative work.

WHAT’S YOUR LEAST FAVORITE?
Pension meetings.

WHAT IS YOUR FAVORITE TIME OF THE DAY?
Lunch time.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
I’d probably be a fighter pilot.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?

I think once I realized I could have a job working in the film business, I was pretty focused on getting into it in some form. Becoming an editor was more organic and less planned, initially, until I realized how much I loved the whole process.

Carlsberg

Carlsberg

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
I have recently worked on a great job for Carlsberg with 72 and Sunny and Oskar Bard from Hobby Films.

I’m just finishing up two very interesting jobs: one was shot by Tom Tagholm at Park Pictures for Talk Talk, which has been a huge undertaking. Then I worked on four short documentaries for Channel 4 and Grayson Perry about transgender issues, which I co-edited with my business partner Leo King. Keith McCarthy directed these for 4creative.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
It has to be the 2012 Paralympics directed by Tom Tagholm.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
Hmmm. I think I could live without most bits of technology. I reckon not having a washing machine would get pretty annoying though.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
A bit of Facebook just to see who is the most outraged at Brexit or Trump. Occasionally Instagram.

DO YOU LISTEN TO MUSIC WHILE YOU WORK?
I do. It’s generally through Spotify and gets pretty random, but I like a lot of Annie Mac’s playlist.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
Paving. I’ve spent the last year repaving my back garden it’s very meditative and seems to take forever. I’m only half-way through so I should be pretty chilled for at least another year or so.

Stitch edits spot for London’s Times, Sunday Times

Based in Soho in London, Stitch Editing has finished a project for The Times and The Sunday Times’ first-ever joint brand campaign. Directed by Rattling Stick’s Ivan Bird, the 30-second TV and cinema commercial features a montage of significant headline moments from around the world. Using the technique of isolating one unexpected sound from each scene, the commercial is designed to show how The Times and The Sunday Times get to the heart of each story they cover.

Stitch’s Richard Woolway cut the spot using an Avid Media Composer, making this his commercial editing debut: “It was a very interesting exercise to source footage that is extremely familiar and mix it with original scenarios of a similar vein that we developed and shot, creatively isolating an element of each scene that forces viewers to think differently on the subject,” he says. “I enjoyed the process of sourcing existing footage and shooting additional scenarios that we felt were missing at the same time. It was a new and exciting way to work and we’re very proud of the power of the end result.”

He continues: “Both Ivan and I worked closely with the agency and client from day one, whilst at times was challenging, I think benefitted the project as a whole, meaning we all knew the footage we had, in detail, and felt confident we were making the best possible version of the film.”

Woolway started his career cutting showreels at Smuggler, where he met the guys at Stitch and, as he says, “The rest is history, good history of course.”

Offline editing for the spot was done at Big Buoy with producer Jonathan Murray. Rattling Stick’s Emily Atterton produced. Sound and music were produced at Wave Studios by sound engineer Tony Rapaccioli and composer/arranger Nick Rapaccioli.