Tag Archives: Reality TV

Assistant Editor’s Bootcamp coming up with focus on reality TV

The Assistant Editor’s Bootcamp returns on Saturday and Sunday, January 19-20 with their third installment of Bootcamp training. This month’s courses are geared to those interested in editing for reality television. Assistant Editing for Reality Television will be taught by founders Noah Chamow (The Voice) and Conor Burke (America’s Got Talent).

Day 1 of the class will cover the essential skills needed to be a reality television assistant editor. Topics covered will include project organization, importing, linking to media and transcoding, exporting cuts and a demo on how to use ScriptSync. Day 2 will give an in-depth overview and practice session on multi-grouping that will cover how to create a day stack, syncing and multi-grouping footage in Avid as well as troubleshooting multi-groups.

Students can take one or both classes. Those who sign up for the online webinar will have access to class videos for 10 days after the presentation. Pricing for each day is $149.99 in person, $124.99 via webinar. Both take place from 10am-4pm in Burbank.

The Assistant Editors’ Bootcamp was founded on the premise of giving students practical real-world experience with classes taught by professional working editors in a collaborative low-stakes environment. “Students walk away with knowledge they can apply immediately in the edit bay to become more efficient and better at their craft overall,” says Chamow. “Having worked as assistant editors, Conor and I understand the day-to-day pitfalls and challenges that can slow down workflows. It’s our goal to give our peers better knowledge of their work to give them the confidence they need to take their careers to the next level.”

How to use animation in reality TV

By Aline Maalouf

The world of animation is changing and evolving at a rapid pace — bringing photorealistic imagery to the small screen and the big screen — animation that is rendered with such detail, you can imagine the exact sensation of the water, feel the heat of the sunshine and experience the wilderness. Just look at the difference between the first Toy Story film, released in 1995, up to Toy Story 3’s release in 2010.

Over 15 years, there is a complete world of difference — we progressed from 2D to 3D, the colors are poignant, we visualize changes from shadows and lightness and the sequences move much more quickly. The third film was a major feat for a studio, and now either years later, the technology there is already on the cusp of being old news.

Technology is advancing faster than it can be implemented — and it isn’t just the Pixar’s and Disney’s of the world who have to stay ahead of the curve with each sequence released. Boutique companies are under just as much pressure to continually push the envelope on what’s possible in the animation space, while still delivering top results to clients within the sometimes demanding time constraints of film and television.

Aline Maalouf

Working in reality TV presents its own set of challenges in comparison to a fully animated program. To start, you need to seamlessly combine real-life interaction with animation — often showcasing what is there against what could be there. As animation continues to evolve, integrating with emerging technology, such as virtual reality, augmented reality and immersive platforms, understanding how users interact with the platform and how to best engage the audience will be crucial.

Here are four ways using animation can enhance a reality TV program:

Showcasing a World of Possibilities
With the introduction of 3D animation, we are able to create imagery so realistic that it is often hard to define what is “real” and what is virtually designed. The real anchor of hyper-realistic animation is the ability to add and play with light and shadows. Layers of light allow us to see reflection, to experience a room from a new angle and to challenge viewers to experience the room in both the daylight and at nighttime.

For example, within our work on Gusto TV’s Where To I Do, couples must select their perfect wedding venue — often viewing a blank space and trying to envision their theme inside it. Using animation, those spaces are brought to life in full, rich color, from dawn to the glaring midday sun to dusk and midnight — no additional film crew time required.

Speeds up Production Process
Gone are the days where studios are spending large budgets resetting room after room to showcase before-and-after options, particularly when it comes to renovation shows. It’s time-consuming and laborious. Working with an animation studio allows producers to showcase a renovated room three different ways, and the audience develops an early feel for the space without the need to see it physically set up.

It’s faster (with the right tools and technology to match TV timelines), allows more flexibility and eliminates the need to build costly sets for one-time use. Even outside of reality TV, the use of greenroom space, green stages and GCI technology allows a flexibility to filming that didn’t necessarily exist two decades ago.

Makes Viewers Part of the Program
If animation is done well, it should make the viewers feel more invested in the program — as if they are part of this experience. Animation should not break what is happening in reality. In order to make this happen, it is essential to have up-to-date software and hardware that bridges the gap between the vision and what is actually accomplished within each scene.

Software and hardware go hand-in-hand in creating high-quality animations. If the software is up to date and not the hardware, the work will be compromised as the rendering process will not be able to support the full project scope. One ripple in the wave of animation and the viewer is reminded that what they’re seeing doesn’t really exist.

Opens Doors to Immersive Experiences
Although we have scratched the surface of what’s possible when it comes to virtual reality, augmented reality and generating immersive experiences for viewers from the comfort of their living rooms, I anticipate there will be a wave of growth in this space over the next five years. Our studio is already building some of these capabilities into our current projects. Overall, studios and production companies are looking for new ways to engage an audience that is exposed to hours of content a day.

Rather than just simply viewing the animation of a wedding venue, viewers will be able to click through the space — guiding their own passage from point A to point B. They become the host of their own journey.

Programs of all genres are dazzling their audiences with the future of animation and reality TV is right there with it.

Aline Maalouf is co-founder/EVP of Neezo Studios, which has produced the animation and renderings for all six seasons of the Property Brothers and all live episodes of Brother vs Brother, in addition to other network shows.

Confessions of a crime-porn editor

Over the years I’ve edited many things — drama, comedy, reality, newsmagazine shows — and I’ve earned six Emmys as a result. But lately I’ve been concentrating on the increasingly popular true-crime genre often referred to cynically as “crime porn.”

For this piece, I debated using my byline, but opted against it for fear of loss of work. I felt telling the story was important though, so here I am.

Working in a medium that is predominately escapist, I edit for drama, emotion and impact… taking liberties with reality and accuracy to provide as much bang for the buck to the viewer (and networks I work for) that I can muster.

As I got deeper and deeper into true crime work, I discovered that the ability to insulate myself from the real horrors and devastation these stories inflict upon the survivors was becoming easier and easier to manage. I became desensitized and cynical (after all, I am an editor and we are generally tough, right?).

It is only when I stepped back from the tight scripts, the carefully selected bites, the well-executed and masterfully-shot recreations and delved deeper into the emotional transcripts and on-camera interviews that reveal the silent, painful moments and lost, numb expressions of the survivors and victims that I realized the responsibility myself and others have to honor them, to contemplate what it is we are actually doing. These are real people who have suffered devastating damage. It is so easy to forget that this is TRUE crime.

Modern reality television didn’t invent the genre. To be sure, the dramatization of crime and grief has been around as long as storytelling has existed. The earliest Greek and Roman tales examined real crimes of passion. My problem is how easily and unconsciously we have trivialized and glamorized the most horrendous crimes that represent the lowest levels of human morality. We do it SO well.

As an editor, I have reveled in piecing together a masterful scene of death, destruction and raw basic emotion, using the sexiest techniques, tools and visual effects, the best-shot angles, sound effects and the entire arsenal of tricks modern technology has afforded me as an editor. And when I finally sit back, after hours of finessing and watch with objective eyes a scene I’ve just cut that frightens, builds suspense and tension and feels like an action movie, I know have done my best job to deliver the goods and satisfy the juices… but maybe have just lost a little more of my humanity in the process.

I realize I should not easily and gleefully take such delight in the visceral response from an audience of a well-cut murder — again, it’s too easy to forget that these represent real people. Real victims. Real tragedy. Real loss.
Several years ago I was editing one of these shows — another well-produced, well-shot and (I believe) well-edited story of a home invasion in which an innocent family was slaughtered, but not before being horrendously violated, burned alive and tortured — of crimes too horrible to contemplate. Yet, here I was portraying their true, albeit, reenacted story.

I used all the cool tricks of the trade — flash frames, booms, subliminal cuts, etc. But, inexplicably, after all these years of doing this over and over again, I found myself bothered by what a fine job I was doing.

I felt in making this horror watchable, glamorizing it, sanitizing it, commercializing it — I was dishonoring and diminishing the memory of these very real, lost and tortured human beings. Yet, I was just doing my job… I was earning a living for my family, and doing it the best way I could. After all, I am a professional and to do less than my best would have been disingenuous, dishonest and unprofessional. But I realized that, even though I had a professional duty, I didn’t have to take so much glee in it.

Let me say here this is in no way an indictment of my fellow editors. Maybe I’m late to the table and many of you who cut these shows have realized the responsibility we shoulder…all I can relate is my story.

Coming to Terms With the Reality
So I did some things to try to make amends and to re-sensitize myself to what I had to do for a living. One Saturday afternoon I drove to visit the site of the horror I described above. It was haunting. Seeing the actual street sign of the block where the crime occurred was the first stab of impact. It made it very real. It was no longer a name on a script or a cut. I got out of the car and sat in quiet meditation in the park created to honor that family.

I looked out at the neighborhood imagining the chaos, the noise, the screams and the horror. I imagined the people in the surrounding houses — who still live there. They lived through it. I could imagine the echoes through the trees, which made the calmness and beauty of the location disturbing.

I contemplated the murders, imagined the seared emotions of the victims and then tried to realize: there was once normalcy here. A loving family. I imagined the love and the beauty of the unique human beings that comprised that decimated family — they should not be defined by their tragic deaths but by the way they lived their lives.

I offered my prayers and even asked for a bit of forgiveness for glamorizing their story, and I promised to be more aware in the future. Then I got into my car and returned to my relatively normal life.

How I Changed
Since then I’ve added a few more steps to my editing workflow. The main thing was reading more fully the transcripts of the friends and survivors. I need to look at the raw interviews beyond the culled soundbites in the script in order to get a more comprehensive (and human) view of these people and how they were affected by these crimes and what they could say about the victims or recipients of violence.

I now always Google the stories to see the real faces of these people whose story I’m retelling — normal, unglamorous, smiling or unsmiling — in order to break the Hollywoodization; the casting of sexy actors and actresses to portray the victims or the devastatingly and banal handsomeness of most killers and villains.

I don’t think there is a real way of completely respecting the sanctity, and honoring the lives, of those we retell stories about in this odd genre. Documentaries are more tailored to that end — there are no actors and there are generally more subtle and sensitive representations of true events — but that is not what this true-crime genre is about, is it? We have to make a living after all, right?

But maybe, sometime after we cut that massacre scene or rape-murder, we can sit back, reflect and give a moment of time, homage and respect to the real people whose lives we are making our careers and livelihood from.

And pray for them… even if you are a cynic like me

The author is a 30-year editing veteran who has cut series for Discovery ID, A&E, Animal Planet and TV One network, to name a few.

Quick Chat: Jarrett Creative Group’s Timothy Dixon

By Randi Altman

Timothy Dixon is creative director/lead editor at New York City-based Jarrett Creative Group. They are an independent production company specializing in reality shows such as TNT’s Boston’s Finest, TLC’s Alaskan Women Looking for Love, TVGN’s Mother of all Talent, and paranormal fare like the long-running Celebrity Ghost Stories, The Haunting Of and I Killed My BFF.

His job is to translate the vision and ideas of the executive producers to what is seen and heard on the screen. “I’m tasked with creating the individual looks and sounds for all of the company’s new projects,” he says. “A one-liner will tell you what a series will ultimately be about, but rarely does it tell you what that series will look like or what it will sound like.”

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AlphaDogs posts ‘Bigfoot’ reality series

Burbank — In the new one-hour reality competition series Ten Million Dollar Bigfoot Bounty, nine teams of lifelong Bigfoot bounty hunters — or “sqautchers” as they like to be called — use their skills, and modern-day technology, to track and hopefully capture this elusive giant, with one team receiving a chance at 10 million dollars in cash. The series, hosted by actor Dean Cain, airs on Spike TV.

The shoot presented its own daunting challenge, spanning four states with multiple indoor and outdoor locations. In addition, a wide variety of videotape and card-based formats from 124 cameras including thermal imaging, timelapse, quad copters and IR cameras were used. The producers called on Burbank’s AlphaDogs for post production services.

“This is the most complex array of gear I’ve come across and I knew we needed a post-house with a colorist and online editor who could handle it,” said consulting producer Scott Templeton.  Terence Curren and the team and AlphaDogs were my first choice. I’ve worked with them on other projects and knew it would be the right decision.”

Typical reality television programming time constraints and hefty technical challenges made color grading especially daunting. Curren, veteran colorist and CEO of AlphaDogs (http://www.alphadogs.tv), explains, “We weren’t given extra time to complete the finish just because the production was “gear heavy,” making the color grading process more demanding than other reality series we have worked on. You find a way to make it work without sacrificing quality while still meeting critical deadlines. Remaining flexible and thinking on your feet is key, especially when you’re looking at tight turnaround time.”

Curren’s experience as a colorist for over 25 years, combined with his skilled knowledge and use of color scopes made certain the overall look of the picture not only looked good on the surface, but went a step further by certifying the range of colors allowed for a video signal are also up to standard for broadcast television.

Executive producer Jon Kroll commented, “We really wanted to give 10 Million Dollar Bigfoot Bounty an epic look, and AlphaDogs stepped up in a big way to elevate each episode one shot at a time. The difference was amazing.”

Co- executive producer Kerry Schmidt added, “We shot 10 Million Dollar Bigfoot Bounty from more than 100 source cameras, and thought we’d never be able to give the show a unified look. With Alpha Dog’s support, we were able to pull it off.”

The series required multiple deliverable formats. AlphaDogs’ stringent quality control process made certain that broadcast and quality standards were met while delivering each episode on time, and ready-to-air.

10 Million Dollar Bigfoot Bounty is produced by Charlie Corwin’s Original Media (Swamp People, Ink Master) with Corwin, Mike Riley and Jon Kroll (The Amazing Race, Big Brother) as executive producers, Kerry Schmidt as co- executive producer, and Scott Templeton as consulting producer.

“It’s not just that we got a great looking show, or that it’s done efficiently, it’s also the comfort of knowing that the AlphaDogs team was watching out in the same way that I’d watch out for the show,” said Templeton. “It’s a great feeling when you’ve got a tough project like this knowing that there is a team that has your back.”

AlphaDogs called on Avid Symphony Nitris, an Avid Artist color panel, Waveform color scopes, Tektronix scopes, and Sony OLED monitors.


Citizen Pictures ups Tim McOsker to head of development

Denver —Citizen Pictures has promoted executive producer Tim McOsker to head of development. McOsker will be responsible for developing new talent, concepts, and show formats for networks and digital outlets.

He has been producing for Citizen since 2006, with credits as executive producer/showrunner for the Emmy-nominated Diners, Drive-Ins and Dives on Food Network, Cooking Channel’s The Real Girl’s Kitchen with Haylie Duff and FoodCrafters, and Food Network’s Extreme Cuisine with Jeff Corwin, and Giada’s Weekend Getaways.

Prior to joining Citizen (www.citizenpictures.com), McOsker was an executive producer and showrunner for Food Network’s long-running Unwrapped series from 2001-2006. He has a Daytime Emmy Award in 2013 for Guy’s Family Reunion Food Network special and won a primetime Emmy nomination for Diners, Drive-Ins and Dives.

Citizen Pictures is located in a 15,000-square-foot facility in Denver, which includes a full stage, edit and graphics suites, and several field production packages.

Photo Caption: L-R: Tim McOsker, Elena McIntosh Gallon, Haylie Duff, Christianna Reinhardt, and Yayo Ahumada on the set of “The Real Girl’s Kitchen.”

Meet The Artist: Meetal Gokul

Behind the Title….


Dark rooms, polorized glasses and making 3D visions a reality

NAME: Meetal Gokul

COMPANY: Park Road Post Production (www.parkroadpost.co.nz) in Wellington, New Zealand


Park Road Post Production is a post production facility located five minutes from Stone Street Studios. Park Road was established as a one-stop shop and offers all post services for a feature from digital rushes, stereoscopic alignment, digital intermediate, Foley, ADR and sound mixing through to the final completion of all film and digital deliverables for distribution. Continue reading