Located in a spacious and creative environment in the heart of Soho, Central London, Encore are a leading provider of Post Production Facilities.
We offer the full range of sound and picture post production services under one roof including offline.
Working across all genres of TV our highly skilled teams help create and deliver world class content to the global marketplace. Our talented creatives combine technical expertise with innovation to provide the highest quality support to your production. CV’s and credits for all are available upon request.
We also provide a full deliverables service including transcoding and conversions, QC and localization services.
Experienced project managers will co-ordinate and manage every aspect of your post production whilst working with us.
The fifth season of BAFTA Award-winning British crime series “Peaky Blinders” is rife with turmoil, opportunity and misfortune following the worldwide financial crash of 1929View Details
The fifth season of BAFTA Award-winning British crime series "Peaky Blinders" is rife with turmoil, opportunity and misfortune following the worldwide financial crash of 1929. It premiered August 25, 2019 on BBC1 to a record viewership, with an international debut on Netflix expected later this year. Fans of the popular drama will enjoy enhanced visuals for season five, with the Steven Knight-created saga mastered in Dolby Vision HDR and Ultra High Definition by Encore London Senior Colorist Paul Staples. Staples worked closely with Director Anthony Byrne and Cinematographer Si Bell to hone a look that was distinct for the time period but also reflective of the show's aesthetic to date.
"I've followed 'Peaky Blinders' as fan so it was a great thrill to work on such an iconic and much-loved show, and the cinematography is beautiful," said Staples. "I've collaborated with Anthony and Si previously so I understood their shorthand. They were very clear that the series five grade embody the late 1920s era whilst still retaining its trademark cool style."
Staples first created the Dolby Vision UHD master and used that pass to inform the SDR grade. Online editorial was completed by Encore London Senior Flame Artist Simon Brook, who worked closely with Staples to ensure any wayward image reflections or modern artefacts were removed from the footage. Brook also completed much of the series' non-CG VFX using the editorial suite, including split screens, some character roto and speed ramp fixes. Encore London Head of Production Alice Greenland ensured that the project's schedules were capably managed and that the show was made to spec and delivered on time.
Encore London Director of Operations Johnny Whitehead concluded, "We are delighted to have mastered 'Peaky Blinders' season five in UHD and HDR. The series perfectly showcases the benefits of using advanced visual formats and everyone at Encore is immensely proud of their work.”
For more info on "Peaky Blinders,"visit: https://www.bbc.co.uk/programmes/b045fz8r
Seasons one through four of "Peaky Blinders"can also be streamed via Netflix: https://www.netflix.com/title/80002479
Encore is thrilled to have delivered the grade on Netflix's highly-anticipated documentary, following the story of one of Russia’s most famous families. A thrilling new series that tells the bloody true story of The Romanovs, Russia's last Czars and their spectacular fall from power.View Details
Encore is thrilled to have delivered the grade on Netflix's highly-anticipated documentary, following the story of one of Russia's most famous families. A thrilling new series that tells the bloody true story of The Romanovs, Russia's last Czars and their spectacular fall from power. An epic tale of how one family’s dark secret tore apart one of the most powerful empires in history and plunged the world into a new era of chaos and revolution. A mix of documentary and reconstruction, this Netflix Alternative commission exploring the end of a dynasty that had ruled Russia for over 300 years is set to be one of Netflix's biggest budget docuseries.
Encore's Adam Davidson provided the sound mixing for this unique project. "The Last Czars was a very interesting project to work on due to the blend of period drama, talking head and archive footage" Adam explains. "It's not always easy to create a cohesive sounding show when working with styles as contrasting as this, but the sound design was carefully thought through, the music choices were excellent, and the mixes were dynamic but smooth."
Rob Cooper onlined the docuseries for Netflix, utilising his keen eye for detail to ensure the historical accuracy of the series remained intact. "In any period drama there will always be modern objects which require removal, and we kept a very close watch for any untoward objects or crew making an unwanted appearance. For example, this could be security cameras, movement detectors, or crew reflections." Rob was also faced with the challenge of editing together historical footage from a variety of sources, in a large number of different frame rates and frame sizes, whilst maintaining a consistency of this material for the 4K master. "In the late 1800 and early 1900's, which is when the archival footage was shot, they would have used hand cranked cameras running anything from 12 to 18 frames per second" says Rob. "we stabilised all the footage, and then did some restoration work on the most seriously damaged frames. We worked closely with Netflix, and the Director Hereward Pelling, to develop an approach that kept the quality of the footage as high as we possibly could."
The Romanov family have captured the interest of audiences for generations. A 100 second clip of the coronation of Czar Nicholas II in 1896 was the first film ever made in Russia, and in the decades that have followed, countless books, films and television programs have explored the history of the Romanov family. Nicholas II and his family’s downfall is of particular interest, due to the mystery surrounding the youngest daughter, Anastasia. Persistent rumours of her possible escape from her family’s execution circulated after her death, fuelled by numerous imposters claiming to be the young princess, and the fact that the location of her burial was unknown until the early 1990s.
By the early 2000s, the Romanovs had been canonised as saints by the Russian Orthodox Church in Russia. In the years since, crowds have travelled to the site of the Romanov family’s execution to honour them on ‘Tsar’s Days’, three days of celebration and prayers throughout the city of Ekaterinburg. On the tail end of the 2018 football World Cup, it is believed that 200,000 people travelled to the city to commemorate the 100th anniversary of the Romanov’s execution. This enormous public demonstration shows the level of significance that the Romanovs hold in modern-day Russian culture.
The Last Czars arrives on Netflix UK on 3rd July.
Encore London are based at Film House at 142 Wardour Street providing the full range of Sound and Picture Post Production. Recent credits include 'The Bay', 'Killed by my Debt' and Amazon Prime's 'Hanna'.View Details
June 10, 2019
Encore London are based at Film House at 142 Wardour Street providing the full range of Sound and Picture Post Production. Recent credits include 'The Bay', 'Killed by my Debt' and Amazon Prime's 'Hanna'.
Encore London is delighted to announce the arrival of two new additions to the Production dept starting on Monday 3rd June.
Rebecca brings extensive experience in the industry to her new role as a Senior Producer.
She joins Encore from Pinewood Studios, where she worked on various Features and TV projects progressing from Post Production Coordinator to DI Production Manager. Prior to that she worked in Sales and Production roles at Pepper and Midnight Transfer. She will be managing projects across both Sound and Picture depts.
Director of Operations Johnny Whitehead states 'Rebecca's broad experience and expertise means she is used to managing all aspects of Post Production Projects and has the know how to deliver shows on time and within budget. I am delighted that she is joining Encore and is a great addition to our company'.
Rebecca adds 'I'm thrilled to be joining the talented team at Encore, a company with an amazing client base and reputation for technical innovation and creativity.'
Sabrina arrives at Encore from FLAMIN (Film London Artists Moving Image Network), where she played a supporting role for senior members of the team across productions, awards, projects and showcases.
In her role as ADR Co-ordinator Sabrina will be a key member of the Encore Production team, helping manage the thriving ADR business across two studios catering for both single artist and crowd bookings.
Head of Production Alice Greenland comments that 'Sabrina's energy and organizational skills will perfectly complement the team here and I'm confident clients will love working with her'.
Prior to joining Encore Sabrina has taken advantage of any opportunity to develop her industry knowledge and skillset, gaining various certifications including The London Film Academy in Fulham and independent film training organisation Raindance.
Dave’s new sitcom documents the misadventures of two delivery riders for a struggling south London pizza parlour, in their attempt to save up money and finally move out of their parents' homes.View Details
June 2, 2019
Dave's new sitcom documents the misadventures of two delivery riders for a struggling south London pizza parlour, in their attempt to save up money and finally move out of their parents' homes. 'Sliced' follows the fictional lives of Joshua (Samson Kayo) and Ricky (Theo Barklem Biggs) as they realise the everyday perils of doing something most Londoners would never do – interacting with the general public.
Senior Encore Colourist Chris Rodgers delivered the colour grade for the takeaway-based comedy, working with director Al Campbell and Director of Photography Luke Bryant to develop the look of the show. "We discussed the look of the show before the shoot, and also did some make-up and camera tests where we could first explore how to approach the grade."
Sharing references from films and other shows, Chris and Luke Bryant worked closely to hone their vision, so that by the time the first episode was ready to go into post-production, Chris knew exactly how it was going to look. "The kind of references we had were indie films, and not at all like a typical comedy. We avoided anything overly saturated and bright, and then pushed a strong hint of green. I feel it’s quite a bold looking show."
Chris had other elements beside the grade to consider, "there were a few paint-outs to do – crew reflections for example. It's really nice to be able to fix these things the moment they're spotted, and do it as part of the grading session". Much like when ordering a takeaway, the key to success with 'Sliced' was a quality product delivered as efficiently as possible. "Time is something we had to be aware of. We had a day per episode, and it's longer than a typical half hour show, so we had to make sure we kept moving."
'Sliced' airs every day at 10pm from Wednesday 15th – Friday 17th May on UKTV channel Dave, you can also catch up online.
ITV’s new six-part drama 'The Bay' follows Detective Sergeant Lisa Armstrong (Morven Christie) as she is assigned to a missing person case. Encore's Chris Rodgers executed picture post production, bringing the setting of Morecambe Bay to life as the backdrop to this gritty crime drama.View Details
March 24, 2019
This six-part ITV drama from Tall Story Pictures follows Detective Sergeant Lisa Armstrong (played by Morven Christie) a police family liaison officer assigned to a missing person investigation. Encore senior colourist Chris Rodgers (The Widow, The Last Kingdom, Doctor Who) worked closely with Director of Photography Ryan Kernaghan to create the right feel, avoiding the typical look associated with a British crime drama and keeping the colours rich, without crossing the line into over-saturated.
Set and filmed in Morecambe Bay, Lancashire, Chris made the most of the dramatic skies, occasionally compositing in a new sky if needed. "We did this as part of the grading session from a library of skies" he explained, "and could quickly try out various options without sending shots off for VFX."
Grading on DaVinci Resolve 15, Chris had to find the balance of colour to fit the characters and story of The Bay; "We wanted to find our moments to go dark and gritty in the grade. We were mindful that despite the subject matter, we didn't want to have everything looking bleak and drained of colour." Chris added more dimension to the grade by using print film emulation with warm highlights, "the show and characters needed to feel accessible. There is complexity and subtlety in the writing, performances and direction, and I didn’t want the grade to feel obvious or clichéd."
The Bay will air at 9pm on ITV from Wednesday 20th March.
Senior colourist Chris Rodgers discusses his work on ITV’s crime drama, The Bay, grading the seaside setting of Lancashire's Morecambe Bay.View Details
March 24, 2019
What was the brief?
To grade a new six-part ITV drama for Tall Story Pictures called The Bay. It was important for the show to have a strong look, without feeling too dark and over-stylised.
How does this project compare with other dramas that you have worked on?
One thing that is a little unusual about The Bay is the way that an episode will ordinarily cover just one story day. Each episode is structured in a way that meant we had to make sure that there is consistency in the grade, not just from shot to shot, but also from scene to scene. We had to consider the chronology of an entire episode whilst playing to the strengths of a particular scene or location.
The Bay is a drama surrounding an incredibly difficult subject – when loved ones go missing. How did you balance the darkness of the topic with the seaside village setting of Morecambe Bay?
We wanted to find our moments to go dark and gritty in the grade. This was largely informed by the photography and lighting, and of course the nature of a particular scene, so we weren’t afraid to push the grade quite far in this direction, when relevant. However, we were also mindful that despite the subject matter, we didn’t want to have everything looking bleak and drained of colour. The show and characters needed to feel accessible. There is complexity and subtlety in the writing, performances and direction, and I didn’t want the grade to feel obvious or clichéd.
The plot of the programme keeps the audience guessing who is guilty. Did the suggestions of innocence or guilt within the plot affect how you coloured the scenes of any particular character?
Although I made sure I watched each episode before I graded it, the nature of the schedule meant that I didn’t know what happened beyond the particular show I was grading that week. This worked well, as I wouldn’t want to artificially steer the audience in any particular direction or treat certain characters differently.
Were there any interesting challenges that arose during the project?
I feel like the location of Morecambe Bay is an additional character, and in particular the dramatic weather and skies. Ryan (Kernaghan, Director of Photography) would often frame with lots of negative space to include a particularly dramatic sky, and this is something that was mindful of throughout the grade. This meant making the most of skies without them feeling ‘treated’, and occasionally compositing in a new sky if it was flat and un-interesting. We did this as part of the grading session from a library of skies, and could quickly try out various options without sending shots off for VFX.
The Bay will air at 9pm on ITV from Wednesday 20th March.
Airing on the W Channel and POP TV, this latest drama from Oliver Lansley follows the fast-paced life of a successful publicist, played by Anna Paquin. Encore provided picture and sound post production, helping to capture the look and feel of modern day London.View Details
March 14, 2019
Following the fast-paced life of a successful publicist, 'Flack' offers its audience a drama set in a world we rarely get to see, a peek into the inner workings of high profile publicity. American PR Executive Robyn (Anna Paquin) must balance the almost impossible job cleaning up the messes of her demanding clients, whilst also trying to keep her own personal life from spinning out of control.
Encore was pleased to provide 'Flack's colour grading and full audio post for Hat Trick Productions and CASM latest drama.
Adam Davidson, sound mixer at Encore, has a long-standing connection with the series having worked on the pilot episode. "It was lovely to see Mark (Talbot, Producer at Hat Trick Productions) and Oliver (Lansley, Writer of ‘Flack’)’s hard work and dedication to the project come to fruition" he commented. Flack’s London setting provided interesting challenges for Adam and the Encore sound team. "Some of the filming locations, Blackfriars Bridge for example, meant that there was a fair amount of ADR to shoot! We tried hard to create a soundscape that reflects today's London aiming for a sound depth to match the images.' The series offers much in terms of variety, but Adam's favourite to work on was episode five, which is entirely set on a plane during a flight from London to New York. "We recorded varying levels of crowd ADR to help us define the passing of time during the episode and sourced new FX libraries for the specific engine sounds. The Foley team also used a row of old plane seats!"
The six-episode series airs weekly on Thursdays at 10pm on UKTV channel W and catch up on ‘demand on the SkyGo app.
Considered one of the world’s most sought-after colorists and a pioneering technologist in the field of image development, Gregory Fisher talks about his work in SKY’s latest Drama CURFEWView Details
March 10, 2019
What was the brief?
Three words: Cinematic, soft, colourful. Suzie Lavelle, the excellent first-block DOP and I worked on the look during testing. Vintage anamorphic lenses were chosen and Suzie made great use of them.
How did you achieve it, including any 'look' and colour considerations?
A lot of the show is set at night with no obvious light sources with a full range of skin tones needed to be readable in such situations. So along with the cinematic look brief, these considerations led me to soften the shadows and restrict to a filmic palette. This also allowed a reasonable amount of contrast, but with a soft look allowing all the exposure to be seen. The colour is reasonably strong, which allowed the lower contrast image to not feel too washed out.
What about this job stood out for you?
The whole show has been thoughtfully made with great care at every stage. Everything about its design and style has been developed from the idea and script, consequently if feels very coherent, nothing seems stuck on.
I mentioned Suzie already but it was also great to work with Colm, the first block director and exec throughout the entire series. He has a clear and strong vision of what he wants to achieve, yet is open to ideas you may have to help achieve it.
The six-part Sky Original Production, from Tiger Aspect Productions in association with Moonage Pictures, follows the story of ordinary people competing in the world’s fastest, most furious, illegal night-time street race.View Details
March 10, 2019
The six-part Sky Original Production, from Tiger Aspect Productions in association with Moonage Pictures, follows the story of ordinary people competing in the world’s fastest, most furious, illegal night-time street race. Desperate for their own reasons, the challengers risk everything as they race through the night from London to northernmost Scotland in their pimped-out, weaponised vehicles to win the ultimate prize — freedom from the totalitarian government curfew that controls their lives.
The Encore London team was made up of Producer Alice Greenland, Colourist Greg Fisher and Online Editor Charles Bedwell.
Charles Bedwell, Online Editor on the series, commented: "Curfew was a whirlwind of post production for about 6 months at Encore, one of those jobs that is high concept, high budget and high technical requirements. Probably one of the most logistically challenging jobs I’ve been involved with. What helps with shows that have a large amount of visual effects is a good relationship with that side of the production, they are juggling so many variables you need to be ready to ‘catch’ anything that comes your way. Using Flame to build and manage sequences, and deliverables with Nuke in the background to quickly tackle any VFX that needed work – this all culminated in working up to the absolute wire to deliver a finished show in Ultra High Definition with HDR and Dolby Atmos versions for SKY."
Right on time for Christmas, Encore have worked to deliver the BBC and Netflix’s new adaptation of Richard Adams’ classic novel Watership Down, with James McAvoy, John Boyega, Nicholas Hoult and Olivia Colman among the A-list stars lending their voices.View Details
December 16, 2018
Watership Down is set to air on BBC 1 over Christmas, introducing a new generation to the tale of a group of rabbits fleeing human violence and the impending destruction of their home.
Similar to the original 1978 feature adaptation, animation was the preferred route for realising the story.
Colourist Paul Ensby found himself working intricately with director Noam Murro to realise his vision, he explains, “Being an animated series, I was initially under the delusion that the colour pass would be minimal. I was wrong. Each location had to have its own look and each character too. It was important where possible, to differentiate between each, using subtle degrees of colour separation.
A lot of the story is set at night, or at least the evening so we had to be very careful in terms of levels of darkness. It was important not to be over bright but at the same time maintain the dark narrative. Small vignettes sometimes made an enormous difference to the overall picture. We used character mattes extensively to marry the foreground and background elements together."
Particular attention was given to blending the characters within their environment. Ensby elaborates, “So much is about the focal plane. Very often a small defocus here or there, as part of the grade, would help the rabbits ‘sit in’ nicely, like it would if shot with a more conventional camera lens.”
Watership Down will air as two feature-length (1 hour 40 minute) episodes on BBC1 on Saturday 22 December at 7pm and Sunday 23 December at 7.20pm.
After the series airs on BBC1 in the UK, it will be released on Netflix for international viewers.
Created and written by Mika Watkins, Origin, directed by Resident Evil vet Paul W.S. Anderson, represents one of YouTube Premium’s largest programming investments to date. Encore were brought in to deliver on the shows high production values through post.View Details
December 16, 2018
Harry Potter franchise alumni Tom Felton and Natalia Tena form part of the ensemble cast on the new YouTube series Origin, which follows a group of strangers who board a spacecraft to start a new life on a distant planet, only to wake before the journey is complete and find they've been abandoned. Each episode flashes back, Lost-style, to explore a character's backstory and what drove them to abandon their life on Earth.
Giving the show its colourful, highly stylised look was science fiction director Paul W.S. Anderson, who was behind 1997 space horror Event Horizon and 2004’s Alien Vs Predator. The series was lensed by Director of Photography David Higgs, on Red Helium 8K allied with Leica Summilux lenses.
Encore London’s skilled artists were tasked with delivering on the shows high-end production values and bedding in the strong VFX work. Senior Colourists Paul Ensby and Greg Fisher graded the ten-part series, working closely with the shows creatives.
Colourist Paul Ensby comments, “As a futuristic thriller, mostly based on a vessel in deep space, we had to strike a balance; keeping consistency with the light levels and saturation muted at all times, whilst maintaining clarity of image. The spaceship itself was kept consistent by setting a general look and feel for all areas of the ship, which we maintained across all of the episodes.”
Director of Photography David Higgs, on his approach to filming 8K in low light, “The amazing sets designed by Ed Thomas are primarily black and highly reflective. The control room, at a whopping 408 sq m, looks out onto deep space through a two-story picture window. This was shot in camera using a 300 sq m projection screen that was so big that it had to be shipped over. We had to plan for relatively low light levels from the front projection, along with my lighting plan that built five and a half kilometres of interactive LED into the sets.”
Colourist Greg Fisher elaborates on the post process, “The material may have lent itself to a clean and contrasty look, but the brief was for more of a lower contrast, desaturated filmic look, so it is quite bleak in places. We worked with the Red Log3G10 curve and the red wide gamut and started by modifying one of our LUT’s to work is this colour space. I then continued tweaking the LUT to make it suitable for the show. A lot of strong LED lighting cycling on and off, tested the camera and the colour science, especially where we had a strong grade.”
Ensby adds, “Retaining enough light and clarity on the characters was always at the forefront of our thinking. Origin is a moody thriller but we want the audience to be engaged and not for it to be dark, just for darkness sake.”
Origin isn’t exclusively set in the darker reaches of outer space however. As the series progresses, within each episode different characters have their back stories explored, set away from the ship. These flashbacks were individually graded, so some creative freedom was allowed to achieve a contrast to the vast majority of each episode.
Ensby explains, “A variety of looks where considered before we landed on specific looks for each of these segments. Mostly, a lot more vibrancy and colour were added to these scenes, as a rest bite to the more controlled interior of the ship.”
Origin debuted globally on the YouTube Premium streaming service.
Encore is honoured to have been shortlisted in the Best Postproduction House category, for the Broadcast Awards 2019.View Details
December 16, 2018
The Broadcast Awards is one of the most hotly anticipated events in the television industry calendar, recognising and rewarding the UK’s most groundbreaking and successful content, creators and channels. Judged by some of the industry’s biggest names, the awards cover key genres and reward creativity, quality and originality.
Encore are delighted to be shortlisted in the Best Postproduction House category, having put forward a body of work from the last 12 months for consideration that includes The Night Manager (The Ink Factory for the BBC), Maigret (Maigret Productions & Ealing Studios for ITV) and Murdered By My Father (BBC).
British television’s most influential figures will gather for the awards ceremony at Grosvenor House, London, on 6th February 2019, to honour some of the UK’s most acclaimed television shows together with behind-the-scenes production and post-production professionals.
Senior Colourist Chris Rodgers is joins Encore London, adding to Deluxe’s international roster of world-class colour grading talent.View Details
December 16, 2018
Chris Rodgers has been a fixture of the London post scene for many years and boasts extensive grading experience. Prior to joining Encore, Rodgers was at Molinare, having previously worked at Splice, where he helped launch their colour grading department. Chris has graded numerous high profile projects, across both TV and theatrical genres. His recent credits include The League of Gentlemen, Class, The Last Kingdom, Doctor Who and Fungus the Bogeyman (which earned him a BAFTA TV Craft nomination) and he has recently completed an eight-part mini-series The Widow for Amazon and ITV, which was graded in both SDR and HDR.
In making the announcement, Encore Director of Operations, Johnny Whitehead said, “We are thrilled that Chris is joining Deluxe. He is a hugely talented and creative grader, as well as a technical innovator - making him a great addition to our team. His appointment comes at an exciting time, as we further expand our facilities to accommodate the increased demand for high-end post services to support the growth in the streaming and broadcast TV markets.”
On joining Chris comments, “I'm delighted to be joining Encore and Deluxe, and working as part of a team of incredibly talented colourists. It's a company I've long admired, and can't wait to get involved in some exciting projects.”
Rodgers brings a deep knowledge of colour finishing techniques to Deluxe, including the nuances of working on HDR projects. Based in Encore London’s Wardour Street location, Chris joins the global team of Deluxe colourists, who out of locations in Los Angeles, New York, Vancouver, Toronto, Madrid and Barcelona are responsible for many of the studio blockbusters, independent film favourites and beloved episodic series that grace our screens. In addition to final HDR and SDR colour, Deluxe’s London facility also provides dailies colour (including UHD dailies), online editorial and sound post services.
The British Academy of Film and Television Arts have announced the nominees for both their annual Television and the Television Craft Awards and Encore are very proud to see so many of our productions up for accolades, along with a nomination for ourselves.View Details
April 12, 2018
The British Academy of Film and Television Arts have announced the nominees for both their annual Television and the Television Craft Awards and Encore are very proud to see so many of our productions up for accolades, along with a nomination for ourselves.
In the British Academy Television Craft Awards, Encore are delighted to be nominated in the Sound Factual category for our work on DAVID BOWIE: THE LAST FIVE YEARS, with Sound Mixer Karl Mainzer a named nominee along with the other members of the sound team.
We are also thrilled to see our production partners nominated across the other TV Craft categories, for their respective contributions towards AGAINST THE LAW, KING CHARLES III, HOWARD'S END, PEAKY BLINDERS and HAVE I GOT NEWS FOR YOU.
The Craft Awards announcement was shortly followed by the release of the British Academy Television Awards shortlist, where again Encore shows were incredibly well represented. We are very excited to see that three of the four shortlisted Single Drama nominees were posted at Encore London; AGAINST THE LAW, KING CHARLES III, and MURDERED FOR BEING DIFFERENT.
Other nominated Encore London posted productions include HOWARD’S END (Mini Series), PEAKY BLINDERS (Drama Series), and BROADCHURCH (Supporting Actress), along with THE HANDMAID’S TALE (International), which was posted by our colleagues in Deluxe Toronto, all up for awards.
Huge congratulations to all of the shortlisted shows production teams and fingers crossed for the big night!
The British Academy TV Craft Awards takes place on 22nd April, see the complete awards nominations list here.
The Virgin TV British Academy Television Awards takes place on 13th May, see the complete awards nominations list here.
Encore London are delighted to offer their congratulations to the entire team on Murdered for Being Different for picking up the Royal Television Society Best Single Drama Award.View Details
March 27, 2018
Encore London are delighted to offer their congratulations to the entire team on Murdered for Being Different for picking up the Royal Television Society Best Single Drama Award.
Created by BBC Studios for BBC Three, Murdered for Being Different debuted last summer as the centre piece of BBC Three’s Sorry Not Sorry season, celebrating individuality across the UK. The factual drama is the true story of a young relationship and of the violence and chaos that destroyed their lives, for simply being different.
Described by the RTS judges as, “Bold and powerful. A gut-wrenching watch”, Murdered for Being Different is set in a small town in Lancashire, where 20 year-old Sophie Lancaster (Abigail Lawrie), who was kicked to death in a park by a gang of kids she didn’t know. Her boyfriend Robert Maltby (Nico Mirallegro) was also severely beaten into a coma. The pair were randomly attacked because they were dressed as Goths.
Made in close collaboration with Robert, his family, Sophie’s family and the police investigating team, the one off drama also follows the story of one teenage witness, Michael Gorman, who struggles with the need to speak out against the attackers and stand up for what is right.
Encore London were brought on to handle both picture and sound post for the show. Graded by Encore Colourist Will Coker, who comments, “Cinematographer Vanessa Whyte shot on Arri Alexa with beautiful anamorphic lenses, so the pictures she provided me with automatically had a lovely filmic quality to them. My job was really to just help enhance all of the great stuff already in the footage. It's such a powerful film we didn't want to distract from this with an overbearing look. The shoot took place in the actual location of Bacup so it almost becomes a character in itself, with its widescreen rural vistas and sullen skies really portraying the sense of bleakness and loss.”
Encore London also handled the sound post on Murdered for Being Different, with Senior Sound Mixer Karl Mainzer leading. The brief from the director Paul Andrew Williams was to create a suspenseful, multi layered soundtrack, which would help the viewer journey between the present day and the characters past, and the events which ultimately led to the disturbing crime.
The sound team drew on raw, gritty, almost documentary style sound beds for the present day drama, and intercut hyper stylised sound design for the flashbacks and out-of-body sequences. Karl commented that Murdered for Being Different, “Stands out for its juxtaposition of raw gritty drama scenes, with heightened, super-stylised, out-of-body sequences.”
Encore are thrilled that the production team have received a much deserved RTS Award for this important and vital piece of work. See the team talk about their excitement at winning here.
See the trailer for Murdered for Being Different here.
Action Team is ITV2's latest big-budget comedy offering. Created by Murder In Successville's Tom Davis (writer/star) and James De Frond (writer/director), the show follows the exploits of a special division of MI6 tasked with dealing with the British government's external 'problems'... using guns and explosions if necessary.View Details
February 17, 2018
Action Team is ITV2's latest big-budget comedy offering. Created by Murder In Successville's Tom Davis (writer/star) and James De Frond (writer/director), the show follows the exploits of a special division of MI6 tasked with dealing with the British government's external 'problems'... using guns and explosions if necessary.
Think The Naked Gun meets The Bourne Identity in this high octane, big scale comedy featuring a dysfunctional group of spies. Fast paced, high concept and crammed with silly jokes.
The gang is led by the suave Logan Mann (Davis). He's essentially a James Bond type... but more arrogant, and prone to getting things wrong. Tom Davis says: "Every year I sit there as the bookies predict who they think will play the next James Bond and I'm always left off the list, so I've decided to do something about it."
The line-up also features bomb expert Monica Lang (Laura Checkley from Detectorists) and sniper Graham (Horrible Histories star Jim Howick). Action Team is completed with Huxley (Kayode Ewumi) a character who, somewhat inexplicably but amusingly, is "just on work experience".
Co-creator Tom Davis says they've essentially aimed to make a "very silly version" of shows like Line Of Duty and The Night Manager.
Both picture and sound post on Action Team were handled by Encore London, perhaps perfectly positioned in terms of helping to craft the desired filmic aesthetic having also been the post production facility on The Night Manager. A primary aim of the production team was to try and get the series looking and sounding as much like an action movie as possible. Shiny Button sought permission from ITV to film the show in the 2:35:1 aspect ratio, bringing a cinematic view that comedies don't normally get to use.
Encore’s Online Editor Charlie Bedwell comments, “Shiny Button were after a professional, cinematic feel across Action Team – a serious backdrop against the not very serious comedy. In the Online I was tasked with creating a variety of effects including blood splatter, muzzle flashes, sight optics, screen, wig clean-up’s and screen effects. It’s a great testament to the skill of the production team as there was very little that wasn’t captured in camera. A lot of what you see on the screen that you might assume is VFX, is actually practical effects. There are quite a few large explosions in the series and they look incredible and truly cinematic in the gorgeous 2:35:1 aspect ratio. Everybody across both production and post production did an amazing job.”
Encore Colourist Paul Staples was involved from pre-production stage, producing a series of bespoke LUTS for the production to use on set, which were then reapplied in the grade and finessed to give a standout look to the show. Staples comments, “The brief for Action Team was to work within the perceived aesthetics of a high-end budget action movie. We approached the post work as we would for one of the numerous high-end features we work on. To make the series tick, it is vital that the audience feel they are watching ‘the real thing’, which then sets up the premise for the team to subvert. It really is a very good looking show indeed and allowed us to really push some sequences to places other productions fear to tread.”
Encore’s Sound Editor Joe Fletcher was similarly briefed in terms of tone and his approach, to walk the line between playing it straight and playing it up for laughs. Fletcher comments, “Creating the sound for Action Team was a lot of fun for us. We got to go big on fight scenes, guns, explosions, and car chases, but also hold things back and go for subtle detail, to allow the comedy to be the focus. Foley also played a part, adding a layer of humour in even the smallest details. This workflow carried on into the mix when we could experiment with James De Frond (Director) and Andrew Brereton (Producer) on different approaches to scenes, and see which way was the funniest.”
The longest running British crime drama gets an overhaul on its return to BBC One.View Details
January 22, 2018
The longest running British crime drama gets an overhaul on its return to BBC One.
Made by BBC Studios, the prime-time hit Silent Witness returns to BBC One. The longest running British crime drama currently airing on TV, the series follows a team of forensic pathologists helping police solve murders using clues found on the bodies of the victims - the silent witnesses.
Encore London provided both picture and sound post services for five new topical thrilling two-part contemporary stories set against the familiar landscapes of London, as Emilia Fox, Richard Lintern, David Caves and Liz Carr return as the dynamic Lyell unit.
Having graded Emilia Fox’s debut series of Silent Witness, Encore’s Senior Colourist Paul Staples returned to the series for the first time since 2004 to provide a new cinematic look. Staples commented, “I was thrilled to get the chance to return to grade this year’s series of Silent Witness. The brief on every level, has been to achieve a cinematic feel, which I think has been successfully achieved. Shot using anamorphic lenses and presented in a 2:1 ratio, this season exudes class and ambition.”
Staples worked closely with Online Editor Andy Cave on overhauling the look of the show. As it moved from its traditional 16:9 aspect ratio to the increasingly popular 2:1 letterbox. This year’s series was also bigger and more action packed than ever before. Utilising Autodesk Flame’s powerful toolset, Cave’s effects work ranged from scene clean-ups, screen compositions and prosthetic enhancements, through to car crashes and motion controlled scene transitions.
Along with Staples and Cave’s picture enhancement work, Encore also provided audio post with Sound Mixer Mat Knights maintaining a sense of the previous series with use of some of the established sounds and atmospheres, whilst taking it in a new direction and creating a new feel by building a soundscape utilising Foley and various Sound FX techniques. Particular attention was given to the Lyell units central London hub, creating a busy environment inside the centre, with off screen sound helping to establish the centre as part of a vibrant university campus.
Encore’s work across all ten episodes helps provide a strong identity to the new series of Silent Witness, leaving the audience in no doubt that they are watching a drama at the high-end of the craft.
Silent Witness is produced by Kiaran Murray-Smith and executive produced by Richard Stokes (Silk, Broadchurch) for BBC Studios.
Pulling in a record audience of over nine million last year, Death In Paradise has cemented its position as one of BBC One’s highest rating dramas.View Details
January 18, 2018
Pulling in a record audience of over nine million last year, Death In Paradise has cemented its position as one of BBC One’s highest rating dramas.
The show returns in 2018 for a seventh series with Ardal O’Hanlon reprising his role as Detective Inspector Jack Mooney, whilst being joined by array of guest stars in the new series including Simon Callow (Amadeus), Sian Gibson (Car Share) and Denis Lawson (New Tricks).
Set on the idyllic tropical island of Saint Marie, the hotly anticipated seventh series returns for more baffling murder cases and warm hearted Caribbean fun. Encore Colourist Lucie Barbier was briefed to keep it vibrant, sunny and inviting, even if the actual weather didn’t always follow suit. Barbier used a rich and colourful pallet, allowing the lushness of the natural surroundings to shine, whilst accentuating the tropical feeling to the images.
The picture enhancement process was completed by Encore Online Editor Andy Cave in Autodesk Flame, working closely alongside the colourist in creating a vibrant and luscious environment that juxtaposes against the cold blooded murders that take place.
Encore’s expert sound team returned to complete post on the new series, mixed by David Old, with SFX by Joe Fletcher and Sam Baker, adding to the immersive sense of being whisked away to the Caribbean island of Guadeloupe.
Death In Paradise has been commissioned for BBC One by Charlotte Moore, Director of Content, and Piers Wenger, Controller of Drama Commissioning, and is a Red Planet Pictures production, produced with the support of the region of Guadeloupe. It is created by Robert Thorogood, produced by Sue Howells and executive produced by Tim Key for Red Planet Pictures and Christopher Aird for the BBC.
Encore are delighted to be shortlisted as BROADCAST TEAM OF THE YEAR at the 2017 Pro Sound Awards.View Details
September 26, 2017
Encore are delighted to be shortlisted as BROADCAST TEAM OF THE YEAR at the 2017 Pro Sound Awards.
The Pro Sound Awards recognise excellence across a spectrum of Pro Audio, awarding achievement in the four sectors of installed, studio, broadcast and live/touring sound.
Encore’s nomination in the BROADCAST TEAM OF THE YEAR category recognises our work across a variety of productions over the past year including Fortitude, Maigret, Ripper Street, Death in Paradise, Against the Law and Murdered for Being Different.
The fifth annual Pro Sound Awards is set to take place on Thursday 28th September at The Steel Yard, London.
TNT Drama's young William Shakespeare drama Will, has been described as "The Bard with a side of The Clash".View Details
August 11, 2017
TNT Drama's young William Shakespeare drama Will, has been described as "The Bard with a side of The Clash".
The new series graded by Encore London's Paul Staples, follows a young William Shakespeare after his arrival to London in 1589 -- when theatre was like rock and roll and a young man with a dream changed the world with his words.
Newcomer Laurie Davidson plays the title role in this period drama told in a bold, contemporary style and played to a modern soundtrack that exposes all of Shakespeare's recklessness, lustful temptations, and tortured brilliance.
Helmed by visionary director Shekhar Kapur (Elizabeth, Elizabeth: The Golden Age), Encore’s Senior Colourist Paul Staples was tasked with enhancing the shows strong and bold design concept, avoiding the ordinary and instead presenting a delicious, sumptuous palette to realise digitally the tonal, aesthetic and artistic considerations of the director.
Staples comments, “We spent a long time in prep refining bespoke LUT’s to blend the finely tuned costume choices, unifying each element of the mise en scene, producing a stand out, original visual manifesto.
I think the stand out factor for me is the colour! Vivid, lush and the polar opposite to expectation. Visually strong and accompanied by some fantastic music choices, it’s a very bold piece of work and one that I’ve very much enjoyed being a part of.”
Paul Staples achieved a distinctive visual realisation of a unique brief grading on the Nucoda Film Master.
Directed by Fergus O’Brien and fully posted by Encore London, following its world premiere as the opening night gala film at this year’s BFI Flare: London LGBT Film Festival, Against the Law heads up the BBC’s GAY BRITANNIA season.View Details
August 08, 2017
Directed by Fergus O’Brien and fully posted by Encore London, following its world premiere as the opening night gala film at this year’s BFI Flare: London LGBT Film Festival, Against the Law heads up the BBC’s GAY BRITANNIA season.
Against the Law is a timely and sensitive biopic based on Peter Wildeblood’s bestseller, which tells the story of his affair love with Edward McNally in 1952, when homosexuality was a crime in Britain. Their love affair would have devastating consequences for each of them.
BBC’s GAY BRITANNIA season celebrates that 2017 sees the 50th anniversary of the 1967 Sexual Offences Act that decriminalised homosexual acts in England and Wales between adult males.
Encore Colourist Will Coker worked closely with both Director Fergus O’Brien and Director of Photography Johann Perry from pre-production onwards. During initial pre-shoot sessions, they worked to establish the look and created custom LUTS to be utilised to both give the production team a better idea of what they wanted from their footage on set and when back in the editing suite.
Cocker comments, “The grade had to reflect both the joy and excitement of first love but also the harsh realism of the appalling treatment people criminalised for homosexuality had to endure.
We started off with rich tones and a warm inviting colour pallet but as the story progressed through to the trial and eventual incarceration of Daniel we reach a subtler, more sterile look to reflect the on screen mood. Throughout however we keep the filmic quality Johann Perry captured in his pictures, never overbearing the screen with an over graded image.”
Will adds, that “the film is also layered with amazing talking head interviews of men who really did see first-hand this unbelievable treatment they had to endure. Our task was to help blend these in with the dramatised aspects of the film, whilst still giving them they're own look and distinct feeling.”
The Encore sound team also had a close creative collaboration with the production, headed by Senior Sound Mixer
Karl Mainzer who worked with Director Fergus O'Neil, to create an authentic, of-the-time (1950's) sound
track, but with a modern twist. To achieve this, they utilised extensive use of authentic on-set field
recordings. Joe Fletcher, Encore's Chief Sound Designer, twisted and enhanced the natural sounds (recordings
from prison cells, courtrooms and other period settings), from each location, to create modern punchy
Mainzer comments, “One of the biggest challenges was shaping Daniel Mays's (Peter Wildeblood) non-dietetic narration, into a coherent and meaningful tale. Daniel's narration had been recorded over many days, in different locations. The sound team used the power of ADR (Automatic Dialogue Replacement) to fuse the narration, and help deliver a persuasive and compelling narrative.”
Mainzer points out, “The court scene's in the film are hugely entertaining. The performances and
directing are knock-out, so to Joe Carey's editing. Joe's impeccable editing delivers trepidation and suspense of
the highest degree.
The Bafta and RTS award-winning team behind BBC Three’s Murdered By My Boyfriend, Don’t Take My Baby and Murdered By My Father return with a new film about a brutal hate crime that shocked the country in 2007.View Details
July 12, 2017
The Bafta and RTS award-winning team behind BBC Three’s Murdered By My Boyfriend, Don’t Take My Baby and Murdered By My Father return with a new film about a brutal hate crime that shocked the country in 2007.
The centre piece of BBC Three’s Sorry Not Sorry season, celebrating individuality across the UK, Murdered For Being Different, is set in a small town in Lancashire, where 20 year-old Sophie Lancaster (Abigail Lawrie) was kicked to death in a park by a gang of kids she didn’t know. Her boyfriend Robert Maltby (Nico Mirallegro) was severely beaten into a coma. The two of them were randomly attacked because they were dressed as Goths.
Made in close collaboration with Rob, his family, Sophie’s family and the police investigating team, this factual drama is the true story of a young relationship and of the violence and chaos that destroyed their lives, for simply being different.
In the aftermath of the attack, Murdered For Being Different also follows the story of one teenage witness, Michael Gorman, who struggles with the need to speak out against the attackers and stand up for what is right.
Made on the 10th anniversary of Sophie's death, this film is both a love story and a forensic examination of the causes and consequences of a brutal attack.
The show was shot on the Arri Alexa 2K and graded by Encore London’s Will Coker on the Nucoda Film Master. Will comments, “Cinematographer Vanessa Whyte shot on beautiful anamorphic lenses, so the pictures she provided me with automatically had a lovely filmic quality to them. My job was really to just help enhance all of the great stuff already in the footage. It's such a powerful film we didn't want to distract from this with an overbearing look.”
The shoot took place in the actual location of Bacup so it almost becomes a character in itself, with its widescreen rural vistas and sullen skies really portraying the sense of bleakness and loss. In Will’s approach to the grade he went for a slightly softer look, with lower contrast and muted tones to really allow the story to tell itself. He elaborates, “The look was mainly kept pretty natural overall, however we enhanced certain scenes; for example, when in the hospital, to 'dirty' them up and really help introduce an uneasy, nervous feel to proceedings. We used a lot greens, yellows and sickly skin tones to really push those feelings forwards.”
Encore London also handled the sound post on Murdered For Being Different, with Senior Sound Mixer Karl Mainzer leading. The brief from the director Paul Andrew Williams was to create a suspenseful, multi layered soundtrack, which would help the viewer journey between the present day and the characters past, and the events which ultimately led to the disturbing crime.
The sound team drew on raw, gritty, almost documentary style sound beds for the present day drama, and intercut hyper stylised sound design for the flashbacks and out-of-body experiences.
In the story climax, the scene when the two protagonists Sophie and Rob are horrifically attacked, Encore’s sound team had to weave together a super amount of radio mics and ADR tracks from multiple characters and off-screen police telephone vocals, into a coherent, supercharged scene, whilst still maintaining a state of confusion and discombobulation in the character’s minds.
Karl commented that Murdered For Being Different, “Stands out for its juxtaposition of raw gritty drama scenes, with heightened, super-stylised, out-of-body sequences.”
The film was mixed at Encore’s Studio 5 on a D-Control mix surface, running Pro-Tools 12HD.
Murdered For Being Different was released on BBC Three and is available on the iPlayer now. It will TX on BBC One on Thursday 13th July.
Encore London's RTS-Award winning Supervising Sound Editor Chris Roberts offers up some craft advice for actors on ADR.View Details
July 10, 2017
Encore London's RTS-Award winning Supervising Sound Editor Chris Roberts offers up some craft advice for actors on ADR.
The odd thing about ADR (or looping, if you prefer) is that while everyone, even the layman, the proverbial man-in-the-street, knows exactly what it is; there’s still an awful lot of misinformation around. This lack of understanding doesn’t help the actor, the editor or the production.
It’s as if ADR is a dirty little secret. As if it’s cheating, fixing it in post. Much like the oversimplified perception of AutoTune in music.
So in this article (which first appeared in Resurface here), Chris decided to come at it from the other side of the glass, from the actor’s perspective...
5 THINGS ACTORS NEED TO KNOW ABOUT ADR
1. ADR is Not a Punishment. You’ve Not Done Anything Wrong!
There is the perception that actors, on the whole, dislike doing ADR. That’s entirely understandable. When the camera was rolling they were in the moment, immersed in the character and the scene, playing off their fellow actors – the actor performed. Why then, weeks later, are they being dragged into a soundproof studio and asked to do it all again, alone and out of context?
When an actor is called for an ADR session, often the immediate thought is that something bad happened – a technical problem with the location sound, or (more importantly for the actor) that there was something “wrong” with their performance.
The truth is, this is almost never why ADR is done.
Real technical problems with location sound are thankfully very rare. Imagine an exterior scene in a period drama; a young couple having an intimate conversation as they walk through the gardens of the beautiful country house. All the dialogue is perfectly recorded and audible, but so is the traffic from the motorway half a mile away. The sound of traffic is in the same range as the human voice, so cannot be filtered out without adversely affecting the actors’ voices. All the dialogue will have to be re-recorded by the actors in an ADR session.
On the very rare occasions where an actor is asked to alter the performance in an ADR session, it is due to factors other than a “bad” performance. During the course of editing, a scene may have been shortened, removed or restructured, which may mean that certain line readings do not work as well in the new context. Re-recording a line with a different emphasis or inflection can often be just what is required to perfect the new shape of a scene.
There have also been instances where a director has actually admitted that the performance note they gave to an actor when shooting the scene was wrong!
2. ADR is not Cheating, it’s Part of the Storytelling Process
It may be surprising, but a high proportion of ADR is not recorded to replace the original sync performance. The storytelling process doesn’t stop when the shoot wraps. It is constantly being refined through the editing process.
As such, producers, directors or writers may feel that a line needs to change, or be added, to help make sense of the narrative or an element of character development. Or, a new line may need to be added to add context to a scene because a preceding scene has been cut.
Refining dialogue in ADR is a legitimate part of the craft of stortytelling.
As legitimate as script writing, shooting, editing and acting. So it’s important to find ways to help the actor deliver a compelling performance in post-production.
The ADR Supervisor will cue extra lines to be re-recorded leading into and out of the new or amended line. This may seem like generating unnecessary work for the actor when only one new line is actually required, but re-recording the other lines helps the actor to put the new line into context by giving them the opportunity to perform the new line as part of the whole speech. This helps the actor to match the dialogue from the original performance in terms of pitch, tone, register and most importantly emotion.
3. At Some Point, You’re Going to Have to do ADR
It seems that most, if not all, British drama schools still focus on training actors to perform on stage. There seems to be very little time spent on screen acting skills. Certainly the craft of performing in an ADR studio is not taught.
It’s not necessarily an easy thing to do, but it will be required of any TV or film actor in a principal role. Some actors, often those with a very musical ear, are naturally incredibly good at ADR. Others find it more difficult. Young actors, called for their first ADR session, will often walk into the ADR studio lacking in confidence. Full of the fears addressed in the first section of this article.
There are many ways in which an actor can approach ADR in a session; different methods, tips and tricks that can be employed to approach a scene, recreate a performance or make new lines connect with those recorded two months earlier.
Most actors develop these post-production performance skills through their careers, but it would be so much better if even the rudiments could be taught in the drama schools where our young actors are building the foundations of their skillsets. Being able to walk into their first professional ADR session with confidence and some knowledge can only be a good thing for them, and for the production of which they are part.
4. ADR is Not a Voiceover
A common issue when recording ADR is the change of environment. From the highly-charged shoot to the comfort and relative calm of the post production facility. There can be a subliminal change in the mindset of the actor – from character performance to voiceover artist. An ADR performance is most definitely not a voiceover performance.
The most common note given to actors in an ADR studio relates to voice projection. On set or location there will always be a certain amount of ambient background. The human brain does an incredible job of regulating the voice, and will subliminally project it enough to be heard even in an intimate, emotional context.
In a soundproof ADR studio, there is none of the ambient sound of a set or location. Often an actor’s instinct is to deliver the lines to the mic or the other people in the room.
On playback, the re-recorded lines will not match the original because that element of vocal projection, however slight, is missing. The key note for the actor is to listen to the original performance and match the level and projection. Don’t worry about breaking the microphone!
5. There’s Plenty of Work in Crowd ADR, When You’re in Between Roles
The choice of acting as a career is notoriously risky. What many actors don’t know is that there is regular, decently-paid work to be had in providing “Crowd ADR”, also known as “Loop Group”.
When a scene is shot, supporting artists (“extras”) will be miming any conversations they appear to be having so that the principal actors’ dialogue can be recorded cleanly. Once the film or episode has been edited, a specialist casting agent will be contacted to provide a group of actors to add voices to the supporting artists in the scenes according to the ADR Supervisor’s cues.
This could be background chat in a restaurant or bar. Reactions to a fight or car chase. Adding specific lines for background characters either on screen or on the ’phone. Radio or television presenter voices, or occasionally re-voicing a supporting artist’s on-screen dialogue (usually because a local Supporting Artist’s accent is not right for the context of the story).
Crowd ADR actors are generally paid a session fee, and might also receive ongoing residual payments.
These sessions are not only a source of income; they are another way to utilise the skills and craft that actors spend a lot of time and money learning and developing. The best Crowd ADR actors are good improvisers, have a range of accents and good observational skills, and can quickly lip-sync to replace another actor’s dialogue.
Encore helps tell the heart-warming true story of a national treasure - Dame Barbara Windsor with a touch of sauciness thrown in.View Details
May 08, 2017
Encore helps tell the heart-warming true story of a national treasure - Dame Barbara Windsor with a touch of sauciness thrown in.
Preparing to perform in the theatre one cold evening in 1993, Babs takes us on a journey of all the people and
events that have shaped her life and career: taking us through 50 years from 1943 to 1993, she contemplates her
lonely childhood and WWII evacuation, her complicated relationship with her father, her doomed marriage to Ronnie
Knight, capturing the attention of Joan Littlewood and becoming the blonde bombshell in the Carry On films.
The finely-woven script merges theatre and film; the story unfolds, full of heart and heartbreak and of course, sauciness.
Babs was graded by Encore senior colourist Paul Staples, who connected with the creatives on the production at an early stage. Paul commented, The film spans a lifetime of work. Even from the point at which I read the script, I was aware that it could be very easy for a colourist to overwhelm the sensitivity and pathos of the film by pulling every trick in the book to create a distracting montage of set pieces. Switching as we do between timelines, sometimes we are in Barbara's thoughts, other times her memories, both happy and sad but always compelling.
Paul added, After initial conversations it was clear that we would need to refine the options for the grade. Mentally, I related to the grade as thinking horizontally rather than vertically. This show had to bring the viewer into Barbara's mind, to avoid cliché subtlety would be key, to helpus navigate the audience though her life. Thinking horizontally, I sought to segue between scenes and avoid a 'hard out' into the next, which could result in a discontinuity of emotion and a break in the narrative flow.
The Babs production team shot extensively on location in and around London. Whilst they had addressed as much as possible on set, Encores VFX team were tasked with over 90 shots that required Flame and Nuke work to maintain the period era. Including removing modern road markings, modern cars, buses, sky dishes, cables, aerials and any other trappings of modern life. Encore also worked to bring the Kray twins together on screen, both being played as they were by Rob Compton.
Encores fellow creatives at Rushes VFX also fed in to production, to realise some of the other sequences in the film. In one scene deploying crowd simulation techniques to do so. This entailed shooting the extras multiple times on green screen before overlapping and merging plates together in Nuke, including changing the colour of clothing, so that the overall crowd rep shots looked very effective and convincing.
Due to the nature of the alternating timeframe throughout the narrative of the film, the Encore sound team were presented with similar challenges and opportunities to the picture post team. With everything we see either a projection of the protagonists inner voice, or a flashback memory, the sound team worked to create the varying time periods that run throughout the show whilst maintaining an overall stylistic continuity.
Encore Sound Mixer Mathew Knights commented, Babs was a great show to work on from a sound point of view as we had a lot of freedom to create. Everyone involved was very open to ideas and experimentation of different approaches.
Much of the show is a projection of memories, which opens up creative opportunities. However, we soon realised that a distinctively over stylised in your head approach to Babs environment removed you from the narrative, rather than bringing us closer to her.
Matthew and the sound team decided on creating a subtle sound design to just give a sense of Babs emotions and thoughts rather than anything too explicit technique wise. Matthew explains, For example, when Babs is processing moments of the past through, a manifestation of her father, we played his dialogue subtly from all the speakers in the 5.1 array to give him a slightly ethereal presence. We also used sound design to punctuate and emphasis the transitions between locations and time periods.
The final soundscape combined with a great score provided a rich and smooth accompaniment to a sad and joyful story of one of our national treasures.
Encore London provide picture post for incredible new Sky Atlantic/Showtime series Guerrilla, graded by Jet Omoshebi.View Details
April 21, 2017
Encore London provide picture post for incredible new Sky Atlantic/Showtime series Guerrilla, graded by Jet Omoshebi.
Created by Academy Award® winning writer John Ridley (12 Years a Slave, American Crime), Guerrilla follows politically active lovers Jas (Freida Pinto) and Marcus (Babou Ceesay) and their friends as the political becomes personal. Based in 1970s London, the group of activists go head-to-head with a racist police force who are dedicated to crushing them. Guerrilla explores the nature of a relationship under pressure and poses the question: what if the original Black Power movement in London had used violence?
Encore Senior Colourist Jet Omoshebi worked closely with writer, director and show runner John Ridley, along with director of photography Ramsay Nickel to develop the look of the show. Jet comments, “We explored a few different approaches for the look of Guerrilla. Initially we were thinking of a warm dusty world that might reinforce the era (1970s) but ultimately settled on something much cooler in tone, natural and organic. The show was shot on the Alexa with anamorphic lenses in a 2:1 aspect ratio, which afforded us some lovely shallow depth of field, lens aberrations and flares. John Ridley wanted the pictures to look like they might have been projected from a 35mm print, so we also added a small amount of a combination of two different grain plug-ins, to give an uneven, film like texture. Each of the three cinematographers on Guerrilla (Ramsay Nickel, Giulio Biccari, Ari Wegner) had their own signature looks, which we embraced but also crafted together to create a cohesive language for this extraordinarily piece.”
Idris Elba executive produced the show and features in the supporting cast playing Kent, a second generation Brit dedicated to achieving equality for black people in Britain through peaceful and intellectual methods. “Guerrilla has been the culmination of many ambitions. First and foremost, the opportunity to tell a little-known story from our recent history, a story which not only feels relevant to our life in London today, but informs our understanding of it,” comments Elba. “Collaborating with John Ridley has been a longtime desire of mine. His work here is nothing short of a masterclass in character-building and storytelling.”
John Ridley adds “Though a created narrative, Guerrilla is rooted in the realities of an era when the young and the passionate of differing backgrounds found themselves united by a struggle for the rights of people of colour, of the oppressed, the disenfranchised, and the marginalised. If those rights could not be obtained by way of public referendum, they would be had with the blast of a bomb, or from the end of a gun. These beliefs are personified in our lead characters Jas and Marcus. They are reflected, as well, in an ensemble that must deal with the consequences of their own actions – and at times in action – both for and against ‘the cause’.”
Guerrilla will air from Thursday, 13th April 2017 on Sky Atlantic, and is a co-production with Showtime, who will air it in the US.
Encore transform the viewing experience collaborating with Netflix and Marvel using HDR.View Details
April 12, 2017
Encore transform the viewing experience collaborating with Netflix and Marvel using HDR.
Netflix hosted a two day media event ahead of the launch of their new Marvel series, Iron Fist. Our colleagues from Encore Hollywood joined the event to present an in-depth look at HDR and how it transforms the viewing experience. Encore Colorist Tony D’Amore walked journalists through the HDR grading process step-by-step at Dolby’s high-tech headquarters in San Francisco.
As leaders in the use of this new format for episodic television, Netflix and Marvel have been collaborating with Encore; initially to re-master previous seasons of Marvel series including Daredevil, Jessica Jones and Luke Cage in HDR, and now, with Iron Fist, to master natively in the brilliant new format.
Encore provided grading for this hotly-anticipated ITV series, set in 1970s Hackney.View Details
March 10, 2017
Encore provided grading for this hotly-anticipated ITV series, set in 1970s Hackney.
Adapted from Lynda La Plante’s bestselling novel, Tennison, and produced by independent production company,
Noho Film and Television, ITV launches brand new crime drama, Prime Suspect 1973. Starring Stefanie Martini as
the young WPC Jane Tennison, the six-part drama charts the rise of the novice policewoman as she assists in her
first murder investigation, revealing her first steps towards becoming the complex and formidable character that
viewers have come to know.
Encore's Senior Colourist, Jet Omoshebi discusses the look development for the series, “It is always a dichotomy when doing a period grade; it can be tempting to create a pastiche but in this case I worked alongside Director of Photography Julian Court to produce a look that was reminiscent of the time as well as the stock, lenses and camera equipment of the day. Already shot on anamorphic, I worked with Julian to create lens aberrations, distortions and added a fine layer of film grain. Hopefully the look helps set the scene and immerse the viewer in the story.”
The third and final series of Broadchurch, ITV's multi award-winning drama, returns to our screens with colour grading by Encore.View Details
March 10, 2017
The third and final series of Broadchurch, ITV's multi award-winning drama, returns to our screens with colour grading by Encore.
David Tennant and Olivia Colman reprise their roles as DI Alec Hardy and DS Ellie Miller, this time investigating a serious sexual assault in the Dorset community. Creator Chris Chibnall has once again written all eight episodes of the drama which was filmed on location in the now familiar Broadchurch locations of Bridport, West Bay and Clevedon as well as Bristol's Bottleyard Studios. Broadchurch is a co-production between Kudos, an Endemol Shine Group company, Imaginary Friends and Sister Pictures and Encore returns to the series once more as the picture post facility, with grade provided by Senior Colourist Paul Staples.
Paul Staples comments, “The choice to go with a 2:1 aspect ratio certainly added a new element to the series look, allowing a more edgy composition and giving a delicious negative space to work into the frame. The anamorphic lenses, with their beautiful focal fall off towards the edges of frame immediately gives us the sense of a feature film style, and this intrinsically drove the grade to give what I hope is a wonderfully distinctive but grounded, luminescent reality. Careful ‘aerating’ of the shadows in combination with camera filtration - a definite stylistic choice in series one, also feeds the visual style.”
Paul added, “Broadchurch has always enjoyed a warm aesthetic template. The references Executive Producers Chris Chibnall and Jane Featherstone gave from day one of the first series was that ‘a terrible thing that happens in a beautiful place’ and this has run throughout the three series. Whilst, undeniably chiaroscuro is necessary to reflect the emotions of the characters, we must always keep an eye on the magic hour feel, which I internalise as the enveloping warmth of long summer evenings, the images aren’t to be used as a visual metaphor for the story, quite the opposite, their inherent beauty are to be set in relief against it, giving a unique visual pathos.”
The opening episode of the latest series of Broadchurch gained 3m consolidated viewers to become ITV’s most-watched drama since the finale of Downton Abbey.
After their successful collaboration on season one, the creative team at Encore return to create the rich audio and visual landscape of this isolated world.View Details
March 10, 2017
After their successful collaboration on season one, the creative team at Encore return to create the rich audio and visual landscape of this isolated world.
‘Twice as thrilling, twice as chilling.’
The highly anticipated return of Fortitude opens with a murder that plunges the remote outpost into new turmoil and introduces the viewer to a collection of new characters including Dennis Quaid who joins as trawler man Michael Lennox and Parminder Nagra who joins the cast as Dr Sarinda Khatr. Chris Roberts led the Encore sound team to create a raw organic sound to avoid predictability, whilst Jet Omoshebi completed the picture grade to accentuate the inhospitable landscape.
The Fortitude environment is a destabilised and isolated world, more so in season two. The real challenge was to maintain a sense of place whilst at the same time bringing the audience into the mindset of the characters. The Encore Sound team delivered a detailed and sympathetic mix; tightly coiled in with and supportive of the narrative. Keeping the sound raw and organic and avoiding predictability was key. Attention to detail was important in achieving this, derived from excellent foley material, recordings made on location in Iceland and fluid sound design which the team achieved with the tracks mixed on an Avid Icon D-Control and Avid S3 with ProTools Dock.
As in season one, colour grading was used to accentuate and help to create an inhospitable wild landscape. Encore's Jet Omoshebi graded on the Digital Vision Nucoda system, working closely with VFX to seamlessly bed in the many VFX shots and to make the interiors feel like they are located in Iceland rather than in a studio in London.
Fortitude Series 2 airs on Thursdays, 9pm on Sky Atlantic
Director/Producer Francis Whately follows his widely acclaimed film ‘David Bowie: Five Years’, with another landmark documentary featuring a wealth of rare and exclusive material.View Details
January 06, 2017
Director/Producer Francis Whately follows his widely acclaimed film ‘David Bowie: Five Years’, with another landmark documentary featuring a wealth of rare and exclusive material.
There was nothing predictable about David Bowie - everything was designed to intrigue, to challenge, to defy all expectations. But perhaps no period in David Bowie’s extraordinary career raised more fascination, more surprise, and more questions, than the last five years.
This film - to be broadcast on BBC Two the night before what would have been Bowie’s 70th birthday - is an intimate portrait of one of the defining artists of our time, told by the people who knew him best, his friends and artistic collaborators.
‘David Bowie: The Last Five Years’ was mixed by Encore’s Senior Dubbing Mixer Karl Mainzer, in Encore’s flagship Dolby Feature Approved Studio 1. Karl had previously worked with Francis on ‘David Bowie: Five Years’, first broadcast on BBC Two in 2013, for which his mixing efforts won Karl the 2014 BAFTA for Best Sound Factual.
For the mix on this new film Karl was presented with a rich and complex array of David Bowie studio and live concert archive footage (some never previously heard before), plus film from Bowie’s own estate and from the BBC’s vaults. The material spanned some four decades worth of work and thus varied massively in quality from vintage mono stage recordings, to Bowie’s modern isolated vocal studio tracks and to full blown concert stems. Along with the challenges this presented, Karl was also tasked with blending live recordings from ex band members, recorded on location.
The director Francis Whately was keen to keep the narrative very much in the present, without markedly reflecting on Bowie’s death. Central to the mix was Bowie’s narrative – archive recordings from radio and television from the late 60’s to present day. Karl adapted each recording to play as a single recorded narrative from David Bowie, assisting the present day feel of the film.
‘David Bowie: The Last Five Years’ takes a detailed look at Bowie’s last albums The Next Day and Blackstar, and his play Lazarus. Through the prism of this last work the film shows how, in his final five years, Bowie not only began producing music again but returned to the core and defining themes of his career.
Encore are extremely proud to have worked with talented Writer and Director George Taylor on UK romantic short ‘Dog Days’.View Details
December 21, 2016
Encore are extremely proud to have worked with talented Writer and Director George Taylor on UK romantic short ‘Dog Days’.
Set in the sultry London summer and with a tagline ‘Jump In’, two people from very different London’s meet on
the hottest night of the year and decide to take a chance with each other with a midnight swim.
Only George’s second film, ‘Dog Days’ has enjoyed a fantastic festival run, receiving critical acclaim along the way. To date, the film has been shortlisted and screened at fourteen different film festivals, picking up a Judge’s Special Award win at the 2016 Purbeck Film Festival. Described by Mark Kermode as "Stylish, offbeat and a little magical", we’re excited to see the further progression of ‘Dog Days’ in 2017, starting with a screening at the Tampere International Film Festival. Huge congratulations to George and everyone involved!
Maigret returns to our screens on Christmas Day with Encore providing full picture and sound post, including on-set VFX supervision, offline, facilities, online, edit, VFX and grade.View Details
December 16, 2016
Maigret returns to our screens on Christmas Day with Encore providing full picture and sound post, including on-set VFX supervision, offline, facilities, online, edit, VFX and grade.
‘Maigret Sets a Trap’ and ‘Maigret’s Dead Man’ are two stand-alone dramatic films featuring the legendary French
fictional detective Jules Maigret, played by globally renowned actor Rowan Atkinson.
Deluxe’s Encore provided full picture and sound post for both 120min stand-alone dramatic films, being involved in discussions from pre-production through to on-set VFX supervision and then to post including offline and online edit, VFX, grade, sound design and mix, with Deluxe’s Rushes creating the title sequence.
In Maigret’s Dead Man, a series of vicious, murderous attacks on three wealthy farms in Picardy hit the national headlines and the elite Brigade Criminelle at the Quay Des Orfevres is called upon to lend its expertise in tracking down the brutal gang responsible for the slaughter. However, Maigret is resolute in investigating the murder of an obscure anonymous Parisian.
Following principle photography taking place in Budapest, Encore was tasked with recreating the look and feel of 1950s Paris in the final film. The classical architecture and broad tree lined boulevards of Budapest, lent themselves to the Haussmann-built boulevards of Paris, with a little help from the Encore VFX team. They set about removing unwanted modern elements, replacing modern shop facades with period signage, crowd and traffic replication shots, set extensions and enhancement. Encore Colourist Paul Staples (Broadchurch, Ripper Street) turned to Vogue Paris photography from the era for inspiration when setting the look and applying the grade to the final film.
Encore’s sound team were tasked with immersing the audience in Maigret’s world, and taking them through the different districts of mid-fifties Paris. Background voice actors were cast and recorded to add life to the locations Maigret and his team encounter during the course of their investigations. The voice recordings also helped to identify different social groups and immigrant communities of the city – from the docks to the theatre, the racetrack to the slums.
Period vehicle recordings, particularly of Maigret’s classic Citroen, were made and used to add authenticity to the soundtrack. The overall design of the sound aimed to contrast the bleakness and brutality of the crimes against the vibrancy of Paris, and also hint at the psychological state of the characters.
Deluxe’s Rushes created an opening title sequence that was as powerful and impactful as the content of the films. The motion graphics team developed a portfolio of ideas for show producer Jeremy Gwilt. He selected the key themes, which combine footage of a thoughtful and enigmatic Maigret, with stylised backdrops of Paris and title elements. Though classic and perfectly in period, these animated titles lend a fresh contemporary style to this re-visioning of the classic French detective, as created by Georges Simenon.
‘Maigret’s Dead Man’ will screen on ITV on Christmas Day at 9pm.
Encore London shortlisted in the Best Postproduction House category for the Broadcast Awards 2017.View Details
November 25, 2016
Encore London shortlisted in the Best Postproduction House category for the Broadcast Awards 2017.
The Broadcast Awards is one of the most hotly anticipated events in the television industry calendar, recognising
and rewarding the UK’s most groundbreaking and successful content, creators and channels. Judged by some of the
industry’s biggest names, the awards cover key genres and reward creativity, quality and originality.
Encore are delighted to be shortlisted in the Best Postproduction House category, having put forward a body of work from the last 12 months for consideration that includes The Night Manager (The Ink Factory for the BBC), Maigret (Maigret Productions & Ealing Studios for ITV) and Murdered By My Father (BBC).
British television’s most influential figures will gather for the awards ceremony at Grosvenor House, Park Lane in London on 1st February 2017 to honour some of the UK’s most acclaimed television shows together with behind-the-scenes production and post-production professionals.
Johnny Whitehead, Director of Operations at Encore says: “We have a hugely talented and hard-working team of creatives and producers at Encore. We are privileged to work with some of the country’s most revered production companies and broadcasters on some truly innovative and inspirational television programming across all genres. I am proud to see the team receiving well deserved recognition through being shortlisted in the category of ‘Best Post House’ at the 2017 Broadcast Awards.”
Encore deliver full picture post for 'Hooten & The Lady' across an average of 250 VFX shots per episode.View Details
November 09, 2016
Encore deliver full picture post for 'Hooten & The Lady' across an average of 250 VFX shots per episode.
This adrenaline filled, eight-part drama event follows the adventures of the hugely charismatic, roguish American
adventurer Hooten (Michael Landes) and his fantastically feisty partner in crime, Lady Alexandra (Ophelia Lovibond)
as they travel the world, from the Vatican to The Himalayas, the Amazon to Egypt, in their quest to save the world's
In the darkest reaches of the Amazon, the diligent and always enthusiastic Lady Alexandra Lindo-Parker – on her first expedition for the British Museum – runs into Hooten – a rough edged, no-nonsense American treasure hunter with an eye for gold and only occasional charm. They immediately fail to get on, but the threat of imminent death keeps them together. Truly unique and delivered with chutzpah, wit, pace and bucket-loads of jeopardy, Hooten & The Lady combines lashings of humour with rollicking, nail-biting adventures.
Encore London completed full picture post on Hooten & The Lady, the exciting new adventure series being graded by Encore’s Jet Omoshebi. With the viewer being transported to such a wide array of exotic locations around the world in every episode, including Cape Town, Moscow and Cambodia, Jet’s brief was to make every story stand out with its own colour palette and character, she comments, “I wanted each episode to look like a travel brochure for that country, and take the viewer on an adventure holiday.”
Online editor Charles Bedwell commented, “The producers came to us with a clear vision for what they were after, and the use of multiple online suites helped us leverage every hour of the day to make the picture look as good as possible. Our new Flame centric workflow allowed us to quickly pass shots between grade and online so the production could to see updates as they happened. On occasions we had clients in review, while that episode was still being worked on in another suite which was completed and dropped in by the time that review got to that point.”
Encore ensured a high level of consistent quality throughout the series. With the show filmed in amazing locations all across the world, we helped ensure that everything looked right, from removing crew reflections, 3D motion graphics, screen replacements, phone graphics, sky replacements, atmosphere, mist, snow and rain consistency across an average of 250 VFX shots per episode.
“This is an incredibly ambitious show which I hope will be appointment to view television for a discerning drama audience on Sky 1,” said showrunner Tony Jordan. “Seat of your pants adventure is the glue but Hooten & The Lady is all about these two amazing characters.”
Encore congratulate director Rollo Hollins and all at Kode Media on their award winning short film, ‘Between the Lines’, which Encore provided sound design and mix on.View Details
September 14, 2016
Encore congratulate director Rollo Hollins and all at Kode Media on their award winning short film, ‘Between the Lines’, which Encore provided sound design and mix on.
Karl Mainzer, Senior Dubbing Mixer at Encore London designed the sound and mix for ‘Between the Lines’
and says, “It was a dream to work with Koda Media and director Rollo Hollins on 'Between the Lines'. Kode
and Rollo always produce strong and exciting films - 'Between the Lines' is no exception."
Part of the Cornetto Love Stories campaign, ‘Between the Lines’ tells the story of two actors who meet at a play casting where they must confess their love for each other, read awkwardly from a script. The director sees a flash of genuine emotion that wins them the job. The short film then follows the next two months of the play’s production and the lives of the would-be young lovers, as their own feelings start to take over. You can watch the film here.
‘Between the Lines’ picked up the following 6 awards at this month’s LA Shorts Awards:
Best Short Film: Diamond Award - Between the Lines
Best Screenplay: Diamond Award - Between the Lines
Best Director: Platinum Award - Rollo Hollins
Best Actor: Diamond Award - Josh Collins
Best Cinematography: Gold Award - Drew Beinemann
Best Editing: Platinum Award - Adam Biskupski
Encore’s very own Will Coker has been named amongst the rising stars of TV in Broadcast’s Hot Shots of 2016.View Details
August 26, 2016
Encore’s very own Will Coker has been named amongst the rising stars of TV in Broadcast’s Hot Shots of 2016.
Hot Shots is an annual portfolio of talented under-30s currently making their mark in TV. High-end drama is one of the most challenging areas of post-production, however Will has swiftly established a healthy credit list including Mr Selfridge and Mount Pleasant.
Will joined Encore’s telecine department as a trainee in 2011 and after a lot of hard work coupled with determination to succeed, he found his way into the grading department and became a full-time colourist in 2015. Since then Will has more than impressed in his craftsmanship and ability to keep clients happy, while learning from other departments and taking an overview of the whole post-production workflow.
Will was nominated by Encore Director of Operations Johnny Whitehead who commented, “I hope that Will’s progress could serve as inspiration to others as he is living proof that if you have the aptitude, enthusiasm and determination to succeed, you can fulfil your dreams”.
Encore are delighted to announce that their creative teams have contributed to 10 shows nominated for the 68th Emmy® Awards.View Details
August 19, 2016
Encore are delighted to announce that their creative teams have contributed to 10 shows nominated for the 68th Emmy® Awards.
A big congratulations to Encore London Colourist Jet Omoshebi who worked on both Luther, nominated for 11 awards
including Outstanding Cinematography for a Limited Series or Movie, and The Night Manager, nominated for 12 awards.
Encore contributed to the following nominated shows, series and television movies:
• 11.22.63 (Hulu) Colored by Stefan Sonnenfeld and Shane Harris, assembly by Robert Busch and Karen Boyle-Anastasio at Encore/Hollywood, and dailies provided by Deluxe Toronto.
• Gotham (FOX) Colored by Paul Westerback, editorial finishing by Dave Schneider at Encore/Hollywood, and dailies services provided by Encore/New York.
• House of Cards (HBO) Colored by Laura Jans Fazio with editorial finishing by Robert Busch at Encore/Hollywood.
• Luther (BBC America) Colored by Jet Omoshebi with editorial finishing by Nick Timms at Encore/London.
• Mr. Robot (USA Network) Colored by Laura Jans Fazio at Encore/Hollywood.
• The Man in the High Castle (Amazon) Colored by Thor Roos with editorial finishing by James Cowan and dailies services at Encore/Vancouver.
• The Night Manager (AMC) Colored by Jet Omoshebi with online editing by Rob Cooper and Andy Cave at at Encore/London.
• The People v. O.J. Simpson: American Crime Story (FX Network) Mixed on Deluxe’s Hollywood/Seward Street mixing stage, with Pankaj Bajpai coloring and editorial finishing and dailies services provided by Encore/Hollywood.
• True Detective (HBO) Mixed on Deluxe’s Hollywood/Seward Street mixing stage, with Pankaj Bajpai coloring, Robert Busch and Karen Boyle Anastasio providing editorial finishing and dailies services provided by Encore/Hollywood.
• Veep (HBO) Encore/VFX created visual effects under the leadership of Anthony Davis
Huge congratulations to our sister company Iloura for their nomination for Outstanding Special Visual Effects for Game of Thrones’ “Battle of the Bastards” episode (the show itself received 23 nominations).
Further congratulations to Encore’s sister companies; Company 3 and Level 3 Post for their contributions to the following nominated shows, series and television movies:
• Adele Live in New York City (NBC) Colored by Jaime O’Bradovitch at Company 3.
• American Crime (ABC) Colored by Kevin Kirwan at Level 3 Post.
• Girl Meets World (Disney Channel) Colored by Randy Beveridge, with editorial finishing by Michael Sohcot at Level 3 Post.
• Grease Live (FOX) Serviced and mastered at Deluxe’s Hollywood/Seward Street facility.
• He Named Me Malala (National Geographic Channel) Colored by Stefan Sonnenfeld at Company 3.
• Lemonade (HBO) Colored by Jaime O’Bradovich in collaboration with Stefan Sonnenfeld at Company 3.
The 68th Emmy Awards will take place in LA on September 18, 2016. Encore and its artists would like to congratulate and wish all nominees the best of luck.
The BAFTA Television Awards 2016 saw two wins for Encore posted productions; huge congratulations to the teams behind Don’t Take My Baby and Have I Got News For You.View Details
May 13, 2016
The BAFTA Television Awards 2016 saw two wins for Encore posted productions; huge congratulations to the teams behind Don’t Take My Baby and Have I Got News For You.
Huge congratulations to the BBC and the ‘Don’t Take My Baby’ team (Ben Anthony, Jack Thorne, Pier Wilkie, Aysha Rafaele) on picking up the BAFTA Award for best Single Drama.
Directed by Ben Anthony, Don’t Take My Baby tells the story of a disabled couple’s desperate struggle to keep their newborn child. Encore London provided full picture & sound post. Encore’s Chris Roberts was the Sound Supervisor and the mixer was Encore’s Karl Mainzer, working alongside Shaula Walker. Encore’s colourist Paul Staples graded the one-off TV movie.
The BAFTA Television Awards 2016 also saw the award for Comedy Entertainment programme go to ‘Have I got News For You’ and the Hat Trick Productions/BBC One team. For many series now, the show has been superbly edited by Encore’s Simon Brook.
Encore are delighted to present their new look production team. Alice Greenland and Max Caswell are Encore’s new co-Heads of Production, heading up a recently expanded team which sees Carolynne Philpott join as Senior Post Producer.View Details
April 26, 2016
Encore are delighted to present their new look production team. Alice Greenland and Max Caswell are Encore’s new co-Heads of Production, heading up a recently expanded team which sees Carolynne Philpott join as Senior Post Producer.
Alice Greenland and Max Caswell are Encore’s new co-Heads of Production, following promotion from their previous Senior Post Producer positions. Alice and Max bring a vast amount of experience and expertise to their new roles. Recent projects for the duo include: Dickensian, The Night Manager, Maigret, Ripper Street, Death in Paradise, Da Vinci’s Demons and Broadchurch.
Alice and Max will be working closely Encore’s Director of Operations Johnny Whitehead and the rest of the high calibre Encore production team, which has recently expanded to now include Carolynne Philpott as Senior Post Producer. Encore welcomes Carolynne from Halo, where previously she worked on feature films such as Les Misérables, Made of Stone, Long Walk to Freedom, Suffragette, and The Danish Girl. Carolynne has also project managed outstanding drama series The Missing, The Driver and the one off feature length drama The C Word. Most recently, she has managed the full final post on Dr. Thorne, the new ITV period drama from Julian Fellows. Johnny Whitehead says, “I am delighted that Carolynne is joining the Encore Production Team - she is a perfect fit for Encore having a wealth of experience in managing both picture and sound post production across all genres.
To complete the team they are joined by Alex Parrett in the role of Facility Co-ordinator and Anthony Corby as Assistant Post Producer. Having worked with the Deluxe Dailies team most recently, Alex brings technical expertise and tapeless know how to the ever evolving work flows required for broadcast deliveries. Anthony joins the production department from Encores technical operations team, keen to put that experience to good use in his new role.
Encore completes UHD picture post on major new six-part television series The Night Manager.View Details
April 20, 2016
Encore completes UHD picture post on major new six-part television series The Night Manager.
In the first BBC television adaptation of a le Carré novel for almost 30 years, since A Perfect Spy aired in 1987 on the BBC, this modern interpretation of The Night Manager brings love, loss and revenge in a complex story of modern criminality.
Set across several international locations, the story structure takes us back and forth between Egypt, the mountains of Switzerland, and to the Mediterranean island of Mallorca. The brief for Encore’s Colourist Jet Omoshebi was to create specific looks and an individual feel for each location; Cairo’s dusty and vibrant streets in stark contrast to the cold, clean mountains of Swizz Alps.
The VFX pieces were seamlessly fitted to live action by Jet during the grade, which involved the addition of filters, smoke and flicker plug-ins, so that the creative decisions could be made during the grading. The whole piece was finally rendered with a fine layer of film grain.
The production also marks the first UHD delivery for Encore London. Utilising Autodesk Flame suites, partnered with Encore’s ultra-fast SAN enabled Senior Online Editor Rob Cooper to share with Jet's Nucoda Colour Grading suite. This allowed Rob to creatively achieve all the online fixes which crop up, coupled with the ability to play full res 4K all the time. On the process Rob says, “The speed and UHD performance of the Flame was outstanding and allowed us to quickly try out solutions without long render times”.
This workflow provided Encore with the ability to efficiently deliver a stunning looking and polished final master along with all the associated deliverables.
Encore Director of Operations Johnny Whitehead adds, “The logistics of working on such a major high profile project in UHD were both exciting and challenging. The first decision was to establish the optimum workflow along with the best choice of edit systems to be used and for this we decided that Autodesk Flame would be ideal for both conform and online. The edit systems were all set up and running on the latest Quantum SAN which was shared with Jets Nucoda Filmmaster enabling seamless transitions between edit and grade.”
Simon Cornwell of The Ink Factory said: “The Night Manager is a rich, layered and exciting story, and was shot with great scale in four countries. We took the decision to shoot in UHD both to capture the full scope of the material we were working with, and to ensure that we had something to offer our networks and home entertainment partners that would stand the test of time. It was wonderful to be able to work with Encore, who were able to deliver an end-to-end 4K workflow. We knew as soon as they committed to supporting us that Jet and the whole team at Encore would bring something special to the raw material we had captured, and the final results are exciting, nuanced and spectacular.”
Encore are honoured to receive the Association of Motion Picture Sound (AMPS) Award for Excellence in Sound for a Television Drama, in recognition their work on FortitudeView Details
April 14, 2016
Encore are honoured to receive the Association of Motion Picture Sound (AMPS) Award for Excellence in Sound for a Television Drama, in recognition their work on Fortitude
The AMPS Awards are voted for by their global membership of over 450 of the most imaginative and highly experienced
people working in film and television sound. Encore feel especially honoured and delighted to be recognised by
their peers with this award.
FORTITUDE, produced by Fifty Fathoms (Tiger Aspect/Endemol) for Sky Atlantic was a hugely ambitious drama with extremely high production values. Mixed by Associate Sound Mixer Howard Bargroff, Encore’s Chris Roberts was the Supervising Sound Editor for the series. Long-standing Encore collaborators Blair Jollands (Sound Effects Editor/So67und Designer) and Phil Barnes (Dialogue Editor) together with Encore’s Sound Editor Joe Fletcher complete the winning team. The AMPS Award also recognises the exemplary location sound captured by Production Sound Mixer Rudi Buckle and his team.
“We’re really proud for the team to have won the AMPS Award for the work we did on FORTITUDE,” says Encore’s Supervising Sound Editor Chris Roberts. “It really is an honour, and quite humbling, to have been recognised by such a respected group of one’s peers. I am particularly pleased as the award acknowledges the contribution made by the members of both production and post production sound departments. I really couldn’t have wished to be working with any more talented and creative individuals either on the shoot or with us here at Encore. Having already received the RTS Award and a BAFTA nomination, winning the AMPS Award really is more than I ever expected!”
Encore MPSE Award shortlisted for their work on ‘Room’. Brie Larson who plays ‘Ma’ (winner of the Best Actress Academy Award) shot her ADR at Encore London with Sound Mixer Adam Davidson.View Details
February 24, 2016
Encore MPSE Award shortlisted for their work on ‘Room’. Brie Larson who plays ‘Ma’ (winner of the Best Actress Academy Award) shot her ADR at Encore London with Sound Mixer Adam Davidson.
Oscar nominated for Best Picture, 'Room' also picked up a MPSE award nomination for Encore in the 'Feature Film
- Dialogue and ADR Category'. The main character 'Ma' was played by Brie Larson (winner of the Best Actress Academy
Award) and her ADR was shot at Encore London by Adam Davidson.
Adam comments, 'As you expect given the nature of the film we had to record a lot of intense scenes and that can sometimes make for an emotionally draining session where the quality of work can easily tail off towards the end of the day. Thankfully Brie, director Lenny Abrahamson, and sound supervisor Niall Brady were incredibly relaxed from the start and we were able to keep the focus, energy and performance in the ADR right through to the last cue. It was one of my favourite sessions!'
Nominations for this year’s Broadcast Awards were unveiled on the evening of Wednesday 18th November at an exclusive ‘shortlist reveal’ party at The Hospital Club.View Details
November 19, 2015
Nominations for this year’s Broadcast Awards were unveiled on the evening of Wednesday 18th November at an exclusive ‘shortlist reveal’ party at The Hospital Club.
Nominations for this year’s Broadcast Awards were unveiled on the evening of Wednesday 18th November at an exclusive
‘shortlist reveal’ party at The Hospital Club.
Back for their 21st year, the awards will be held at Grosvenor House, Park Lane in London on 10th February 2016. The glittering ceremony will be attended by over 1000 of television’s most influential figures and will honour some of the UK’s most acclaimed television shows together with behind-the-scenes production and post-production professionals.
The awards span a total of 20 categories and encompass all genres of television programming – from drama and factual to entertainment and comedy. Encore are thrilled to receive a nomination in the category of Best Post Production House, having put forward a body of work from the last 12 months for consideration that includes Fortitude (Tiger Aspect for Sky Atlantic), Humans (Kudos for Channel 4) and Ripper Street (Tiger Aspect for Amazon Prime Instant Video)., London.
A judging panel comprising of the some of the industry’s leading lights will now come together to review the work of the nominees with entries being judged on creativity, quality, originality and results – both in terms of ratings and critical acclaim.
Johnny Whitehead, Director of Operations at Encore says: “We have a hugely talented and hard-working team of creatives and producers at Encore. We are privileged to work with some of the country’s most revered production companies and broadcasters on some truly innovative and original television programming across all genres. I am immensely proud to see the team rewarded with a nomination on the category of ‘Best Post House’ at the 2016 Broadcast Awards.”
The Royal Television Society (RTS) Craft and Design Awards 2014/15 have been announced and Encore is delighted to have been awarded an exciting win in the category of Sound: Drama for their work on Fortitude.View Details
November 05, 2015
The Royal Television Society (RTS) Craft and Design Awards 2014/15 have been announced and Encore is delighted to have been awarded an exciting win in the category of Sound: Drama for their work on Fortitude.
Hosted by comedian Susan Calman, the prestigious awards gala celebrates the best of television broadcast on British screens in the last year. Spanning 30 categories, the awards honour the behind-the scenes professionals involved in TV production.
Fortitude, produced by Fifty Fathoms (Tiger Aspect/Endemol) for Sky Atlantic was a hugely ambitious drama with extremely high production values. To properly handle a project of such magnitude, Encore brought together a team of four sound editors, a sound designer, two music editors and a Foley department .
Mixed by Associate Sound Mixer Howard Bargroff, Encore’s Chris Roberts was the Supervising Sound Editor for the series. Long-standing Encore collaborators Blair Jollands (Sound Effects Editor/Sound Designer) and Phil Barnes (Dialogue Editor) together with Encore’s Sound Editor Joe Fletcher complete the winning team.
“The judges felt [Fortitude] quite simply achieved ‘movie sound’ on television,” says the RTS. “The soundscape created a world that the viewer utterly believed in but never felt as if it took over from the drama in any way. It was well judged to enhance the scale and impact of the drama itself.”
“We’re really proud to have been recognised by the RTS for the work we did on Fortitude,” says Encore’s Supervising Sound Editor Chris Roberts. “I am particularly pleased as the award acknowledges the contribution made by the members of both production and post production sound departments. Putting the right team together was essential to create the soundtrack for such bold and imaginative storytelling, and I really couldn’t have wished to be working with any more talented and creative individuals either on the shoot or with us here at Encore.”
Fortitude also went on to win in the category of Effects: Special with Encore posted projects Home Fires (ITV Studios for ITV) winning Music: Original Score and Music: Original Title, Ripper Street (Tiger Aspect for Amazon Prime) winning Effects: Digital, Humans (Kudos for Channel 4/AMC) winning Design: Titles and Marvellous (Fifty Fathoms/Tiger Aspect for BBC Two) securing Director: Fiction.
Johnny Whitehead, Director of Operations at Encore says: “I’m delighted for the sound team who thoroughly deserve this award for their outstanding work on this ground breaking series. Everyone involved went the extra mile to help make this series so special – it was a great team effort and we are immensely proud, not only to have worked on Fortitude, but to also have our work on the series recognised by the Royal Television Society. In addition it was great to see many other productions we have worked on here at Encore honoured at the same event which made for a really special evening.”
Cuffs, BBC One’s vibrant new contemporary police drama, premieres on BBC One this Autumn, the first major drama to fill the pre-watershed 8pm slot in nearly a decade.View Details
November 05, 2015
Cuffs, BBC One’s vibrant new contemporary police drama, premieres on BBC One this Autumn, the first major drama to fill the pre-watershed 8pm slot in nearly a decade.
Cuffs, BBC One’s vibrant new contemporary police drama, premieres on BBC One this Autumn, the first major drama
to fill the pre-watershed 8pm slot in nearly a decade.
Described as “a fast-paced and adrenalin-fuelled cop show”, the series is set in Brighton and focuses on the challenges of front-line policing. Penned by Julie Gearey (Prisoners Wives, Secret Diary of a Call Girl), Cuffs is a lighter look at crime and is packed full of dramatic incidents and colourful characters with an exciting cast that includes Ashley Walters (Top Boy), Peter Sullivan (State Of Play) and Amanda Abbington (Sherlock).
Encore London is delighted to have been involved with this arresting new drama, providing both picture and sound post. Headed up by senior post producer Max Caswell, the creative team comprises award-winning colourist Paul Staples and online editor Nick Timms together with sound mixer David Old, supervising sound editor Chris Roberts and assistant sound editor Sam Baker.
“The show has a distinctive style but it was important for that not to choke the narrative,” explains Paul, “A high velocity drama, Cuffs very much lives ‘in the moment’ and the grade had to provide access to characters whose day-to-day and situation can suddenly change direction without any warning.”
Making heavy use of exterior locations and shooting over a number of weeks across a typically temperamental summer season, the most challenging part of the grade was to tie together the constantly changing weather.
For the sound team Cuffs provided the opportunity to look at the world of the police away from the heaving metropolis of London. Production wanted to focus on the communications used by the police as much of the action is precipitated by a message from Control and dialogue editing was shared between Encore’s Chris Roberts and long-term freelance collaborator Jussi Honka.
It was critical for the team to maintain the illusion that there was always background chatter going on between Control and the other units, out of which the messages that the viewer actually needs to notice emerge. This extended to the principals recording additional real time chat, much of which isn’t specifically heard as it falls beneath other dialogue, but that maintains the veracity of what would genuinely be going on during radio communications.
A lot of time is spent in the patrol vehicles, either travelling to the scene of a crime of taking part in out and out chases, so there was plenty of opportunity to explore the car sound FX library enabling the team to screech, skid and growl their way around the South Downs.
Mixing was performed by Encore’s Head of Sound David Old, working in Studio 2 on one of Encore’s brand new Avid S6 Consoles.
Produced by Tiger Aspect for BBC One, Cuffs is produced by Trevor Hopkins with Will Gould and Julie Geary exec producing for Tiger Aspect and Iona Vrolyk and Polly Hill for BBC One. An 8 x 60 minute series, episode 1 will premiere on Wednesday 28th October on BBC One.
ITV’s brand new, six-part crime drama ‘Unforgotten’ explores a thirty-nine year old murder case following the discovery of a young man’s bones underneath the footings of a demolished house.View Details
October 23, 2015
ITV’s brand new, six-part crime drama ‘Unforgotten’ explores a thirty-nine year old murder case following the discovery of a young man’s bones underneath the footings of a demolished house.
ITV’s brand new, six-part crime drama ‘Unforgotten’ explores a thirty-nine year old murder case following the
discovery of a young man’s bones underneath the footings of a demolished house.
Nicola Walker (Last Tango in Halifax) and Sanjeev Bhaskar (The Kumars) star as DCI Cassie Stuart and DS Sunil ‘Sunny’ Khan who collectively un-ravel the lives and stories of a series of characters as their connection to the mysterious death is gradually revealed in a multi-stranded story that spans different locations across the UK.
Full picture and sound post for this cold case murder drama was provided by Encore London, overseen by Head of Production Harriet Dale. The creative team consists of Paul Staples (Colourist), Simon Brook (Online Editor), Chris Roberts (Supervising Sound Editor), Joe Fletcher and Sam Baker (Sound Editors) and Karl Mainzer (Dubbing Mixer).
Director Andy Wilson wanted to capture the aesthetic reality of shows like 24hrs in Police Custody that bring the audience into the investigation rather than being a viewer on the periphery. As the investigation unfolds and the characters are absorbed, the grade reflects the increasing sense of claustrophobia.
Encore Sound was given the challenging task of producing the mixes for the six episodes in a relatively short space of time. To meet Producer Tim Bradley and Director Andy Wilson’s ambition to realise the scripts, a team of sound editors were put together, meaning that the collective could work efficiently to meet deadlines without putting the quality of work under pressure.
"I was hooked as soon as I read the script for the first episode," says Encore's Supervising Sound Editor Chris Roberts. "It's a very smart take on the crime genre to explore some very current issues, I was immediately struck by how the soundtrack could play a vital part in telling the story."
The aim was to produce a predominantly realistic, detailed soundtrack to support the naturalistic tone of the drama. Using sound to identify the different location each character inhabits was determined to be a key element in developing the narrative during early discussions with the director. Moving from the slick City offices of Sir Phillip Cross to the creaky old coastal vicarage of Father Robert Greaves, via the relative tranquility of Eric Slater's Cambridge home and the inner city estate home of the Wiltons heightens the differences between these seemingly disparate characters and highlights the magnitude of the investigation that brings them all together.
Encore's Sound Effects Editor Joe Fletcher and freelance colleague Nic Allen took their field recorders to capture modern soundscapes of London and Bristol, rural countryside and coastal Suffolk. “I always like using fresh recordings for new series," says Joe, "Especially when it comes to London. As transport has changed a lot over the years, so has the sound of the city”.
Contemporary recordings of a modern police station, sirens and cells were also used frequently throughout the series to add an extra layer of authenticity. Further detail was brought in by the excellent foley recordings that were made by regular Encore collaborators Universal Sound, particularly for scenes where the body is uncovered. “The director really wanted to feel every bone being scraped, and dug out of the London clay" says Joe, "that visceral, emotive connection can only be made with good sound, which Universal created so effectively."
In other discussions with the director, the sounds that should be used for the flashes of Jimmy’s life that are seen during the show were discussed. He wanted to find a way to represent how moments from the deceased's life seeped back into people’s memories. For this Joe Fletcher created a software instrument made entirely from recordings of breaths. “I was then able to create signature sound design that was used throughout the series that had a human, yet haunting feel to it, ” says Joe. For the short, and sometimes violent images shown in flashback, Joe used more aggressive sounds such as heavy impacts, dry ice on metal, bowed cymbals, guitar feedback, and used granular synthesis to heavily mangle and torture sounds to echo the images that we see.
"It's an incredible cast bringing these characters off the page," says Supervising Sound Editor Chris Roberts, "and the production sound does a great job of capturing the wonderfully subtle and naturalistic dialogue performances that Andy wanted. There was very little technical ADR required, but we were able to add depth to the scenes by cueing and recording ADR for background characters." To help keep the sound edit on schedule, Chris utilised the talents of Encore's Sam Baker with freelance support. Says Chris, "Bringing a together a team of individuals that can work to a very specific brief and also all meet the requirements of the dubbing mixer is key to meeting a tight delivery schedule."
All of these layers were then expertly brought together with Michael Price’s stunning score by Encore’s re-recording mixer Karl Mainzer. “Michael’s score was wonderful to work with, it accented moments in the show perfectly and was full of weight and emotion, yet never got in the way”, says Karl.
Created and written by Chris Lang (Undeniable), ‘Unforgotten’ is a Mainstreet Pictures production directed by Andy Wilson (Ripper Street). Tim Bradley (Teachers) produces with Sally Haynes, Chris Lang and Laura Mackie in the Executive Producer roles.
‘Unforgotten’ premieres on ITV Thursday 8th October at 9pm and runs for a six week period.
Britain’s favourite grumpy medic returns in a brand new series of Doc Martin this Autumn on ITV.View Details
September 04, 2015
Britain’s favourite grumpy medic returns in a brand new series of Doc Martin this Autumn on ITV.
Reprising his role as Dr. Martin Ellingham, Martin Clunes stars as a GP with a brusque bedside manner and a
phobia of blood, in eight new episodes of the ratings winning drama set in the idyllic, sleepy hamlet of Portwenn
Main cast favourites return together with a host of guest stars that include Caroline Quentin, Gemma Jones, Finty Williams, Daniel Ryan, Rosie Cavaliero and perhaps surprisingly, Sigourney Weaver!
Somewhat unusually for current UK TV Dramas, Doc Martin is shot on S16mm, giving a unique look and feel to this much loved series. Scanned to 2K for conform and grade in HD, Encore’s award-winning colourist Paul Staples returns to grade with Rob Cooper on-lining, Mat Knights sound mixing and Harriet Dale supervising. Encore’s Head of Production Harriet and Online Editor Rob are now in their tenth year working on the series, which includes the milestone 50th episode that will be shown this season as episode 3.
Written by Jack Lothian, Richard Stoneman and Julian Unthank, Doc Martin is produced by Buffalo Pictures with Nigel Cole, Charles Palmer and Ben Gregor directing and Philippa Braithwaite producing.
Series 7 of Doc Martin premieres at 9pm on Monday 7th September on ITV.
Encore provide near set dailies solution for the second series of The RoyalsView Details
August 28, 2015
Encore provide near set dailies solution for the second series of The Royals
E! Entertainment’s riotous regal drama ‘The Royals’ returns to screens this November with more sex, drugs, murder
Creator Mark Schwahn has promised that three major plot points will be addressed in season 2 when he will reveal who is responsible for the murder of King Simon, what Domino is and whether Prince Liam and Princess Eleanor are truly illegitimate.
Elizabeth Hurley, William Moseley, Jake Maskall, Alexandra Park, Merritt Patterson, Tom Austen and the inimitable Joan Collins all reprise their roles in the new series which is currently in production on location and at 3 Mills Studios in East London where Encore are onsite providing a complete dailies service overseen by in-house Dailies Producers John Bush and Alex Parrett.
As with series one, production are shooting on ARRI Alexa 16:9 HD ProRes 4444 LogC @ 23.98 FPS. The production’s DIT delivers drives twice per day (at lunchtime and wrap) to the Mobilab Dailies System for processing by Encore’s dailies operator Jo Barker who applies a LUT, syncs and QC’s each batch of material received.
Mobilab is Encore’s bespoke system for quickly and securely processing digital rushes on set with the capability to efficiently grade, sound sync, QC, create and upload multiple deliverables and archive to LTO. For The Royals, DNX36 media is created for Editorial and H264 files are created and uploaded for Exec review. Encore’s Mobilab is linked directly to the editors enabling them to pull the media from a shared repository every morning.
All original material is then backed up to 2 x LTO’s, one of which is kept at 3 Mills with Production and the other stored in Encore’s library at the Wardour Street facility.
The series will also be posted at Encore for a second time with award-winning Colourist Paul Staples grading, Mat Knights mixing and Rob Cooper on-lining. Alice Greenland, Senior Post Producer at Encore, is supervising the process throughout.
Encore London is delighted to have provided picture and sound post-production services for this gripping crime thriller.View Details
July 31, 2015
Encore London is delighted to have provided picture and sound post-production services for this gripping crime thriller.
Set in Victorian London’s East End in the aftermath of the infamous Jack the Ripper murders, the show opens
in 1894, four years after the last series left off. Matthew Macfadyen (Spooks) reprises his role as Detective
Inspector Edmund Reid, whilst Jerome Flynn (Game of Thrones) stars as the recently promoted Detective Inspector
Bennet Drake and both Adam Rothenberg (The Divide) and MyAnna Buring (Downton Abbey) return as Cpt. Homer Jackson
and Long Susan Hart respectively.
Encore London is delighted to have provided picture and sound post-production services for this gripping crime thriller with the creative team comprising Paul Staples (Colourist), Nick Timms (Online Editor) and David Old (Sound Mixer). Encore London’s Head of Production, Harriet Dale, supervised the project throughout.
Picking up the story four years after the last series ended, life in Whitechapel has not improved. For the audio, top of the list of requirements was the sound of ‘bleak’ as Sound Mixer David Old explains:
“Even market traders needed to sound anything but cheerful, of course, much of this atmosphere was provided by Dominik Scherrer’s imaginative score, complemented by Phil Freudenfeld’s FX. Jussi Honka took on the task of making the dialogue sound clear, and I completed the mix in the newly refurbished Encore Studio 2, complete with Avid S6 Console and Pro Tools 11 supplied by Scrub”.
Encore’s award-wining colourist Paul Staples says of the grade, “The primary aim for grading Ripper Street was to draw the audience into an all encompassing world, where they can almost touch and smell the characters, where the costumes sing against a backdrop of decay and poverty”.
Created by Richard Warlow, writer of episodes 1,4,5 and 6 in the new series, Ripper Street is produced by Tiger Aspect with Will Gould exec producing on their behalf. The series is directed by Andy Wilson (Ep, 1,2 and 4), Anthony Byrne (Ep. 3,5 and 6) and Saul Metzstein (Ep. 7 and 8) with Lucy Dyke producing.
Ripper Street returns to BBC One this Friday 31st July at 9pm.
Encore recieved an Emmy Award nomination in the category of Outstanding Special Visual Effects for their work on the CW series, ‘The Flash’.View Details
July 23, 2015
Encore recieved an Emmy Award nomination in the category of Outstanding Special Visual Effects for their work on the CW series, ‘The Flash’.
Encore’s VFX artists have been recognised with an Emmy Award nomination in the category of Outstanding Special
Visual Effects for their work on the CW series, ‘The Flash’.
Based on the DC Comics character Barry Allen is struck by a lightening bolt and given the powers of super speed, now a costumed superhero known as ‘The Flash’, he fights crime across Central City. As the sole VFX vendor, Encore was key in bringing crucial story elements to life, including The Flash’s superhuman speed and psychic gorilla nemesis Grodd. Praised as one of the most visually ambitious shows on television ‘The Flash’ delivers stellar imagery to fans each week, thanks in part to the efforts of the Encore VFX artists in Hollywood under the direction of Encore VFX Supervisor Armen Kevorkian.
Encore’s Emmy nominated team in Hollywood are just one part of a global roster of award-winning artists also based in NYC, Toronto, Vancouver and Pune as well as at our Wardour Street facility in Soho, London.
Winners will be revealed at the primetime Creative Arts Emmy Awards ceremony, on Saturday, September 19th.
Three new episodes of the third and final series of the BAFTA nominated drama ‘My Mat Fat Diary’ air on E4 this June.View Details
July 02, 2015
Three new episodes of the third and final series of the BAFTA nominated drama ‘My Mat Fat Diary’ air on E4 this June.
Three new episodes of the third and final series of the BAFTA nominated drama ‘My Mat Fat Diary’ air on E4 this
Sharon Rooney returns as Rachel ‘Rae’ Earl, the year is 1998 and post-college the gang are facing the challenges of life in the real world with Rae struggling with university applications, Chloe (Jodie Comer) aiming for a place at business school and Finn (Nico Mirallegro) just wanting to settle down.
Encore London is delighted to have been chosen to work on the production again with Senior Post Producer Alice Greenland supervising the project throughout.
Series 3 of My Mad Fat Diary is set several years after the previous outing meaning that Colourist Paul Staples needed to find a single unifying look to bond the three series together as he explains:
“I've always tried to achieve a pseudo photochemical style grade to set the films in their period and feel that series 3 of ‘My Mad Fat Diary’ reflects this approach successfully”.
As with previous series, some high speed Phantom footage was included, the Digital Vision Nucoda allowed Paul to fit the scenes seamlessly into the Arri Alexa timeline. Other key challenges included the need to highlight the self-harm injuries, this required keying inside tracked shapes to enhance the production makeup and adding another layer that helped to reinforce the storytelling.
DS editor Nick Timms, who had on-lined the previous two series, had the opportunity to work on the signature graphics for the latest series. The graphics combine words and cartoon pictures which are scrawled over live action in a spontaneous style that reflects Rae’s experiences. Often rude, and very funny these visual observations from Rae’s life highlight her love and hate moments, sometimes filling the frame as her mood blackens.
Working closely with Director Alex Winckler and with Series Producer Jules Hussey’s blessing, Nick gave an anarchic feel to the graphics.
He worked closely with Encore’s Nuke Compositor Charlie Bedwell on the doodles, compositing Charlie’s drawings over final pictures in the DS suite with impeccable timing and humour.
The collaboration required close understanding and communication between Editorial and Production, and was a lot of fun – Charlie doesn’t often get asked to draw “less well” - but in providing a visual representation of Rae’s diary, it was important to inhabit her space, in her style, as the Mad Fat graphics have always done
Senior Re-recording mixer Mathew Knights shaped the tracks in Encore’s Studio 2, using the new Avid S6. “I really enjoy working with the team on 'My Mad Fat Diary’” says Mathew. “It’s entertaining, funny, sometimes outrageous but at the same time deals with some very serious issues. Working with the sound design to support the VFX representing Rae’s thoughts and perspectives offer some great creative opportunities in the mix, without shifting the balance away from the drama.”
“‘My Mad Fat Diary’ has always been a great show to be involved with,” adds Encore’s Supervising Sound Editor Chris Roberts. “Being set in the ’90’s, it’s a period piece - which makes me feel old! We did have to make sure the soundtrack reflected that. No mobile phone rings, a slightly more analogue feel to any electronic effects, and of course remembering to leave space for the great music.”
Dialogue and ADR duties were handled by Chris with Encore Sound’s Sam Baker and Joe Fletcher cutting Sound Effects. The team was supported by freelance Sound Designer Blair Jollands.
Adapted from Rae Earl’s real-life diaries, and subsequent book My Fat, Mad Teenage Diary, the new series is written by George Kay and produced by Tiger Aspect for Channel 4.
My Mad Fat Diary series 3 premieres Monday 22nd June at 10pm on E4.
Encore London has provided picture post-production services for Channel 4’s eagerly awaited eight part drama HumanView Details
June 18, 2015
Encore London has provided picture post-production services for Channel 4’s eagerly awaited eight part drama Human
With award-winning colourist Paul Staples grading, Adam Eddy providing the online and additional VFX and Max
Caswell project managing
From the makers of Utopia and Broadchurch, Humans is set in a parallel present and looks at the introduction of robot servants known as Synths into the home. It raises questions about artificial intelligence and in a thrilling tale set across 8 episodes asks exactly what it is that sets a synthetic creation apart from the human race.
The creative and technical challenges of the project were apparent from the outset, when Paul sat down with Producer Chris Fry and Director Sam Donovan for preliminary discussions and set about establishing the grade and look they desired on his Nucoda grading system.
The Synths are defined both by their subtly choreographed movements and their striking green eyes – it was critical to the storytelling and important to both Chris and Sam that the eyes were consistently at the right level and following the main grade a secondary pass was made on the eyes to maintain rhythm.
As an effects-driven project, Online and VFX Editor Adam Eddy worked mainly inside NUKE, using the AVID DS to assemble the programme and perform the more procedural tasks. There were numerous computer screens and interfaces to adapt and animate together with sky replacements, the addition of atmosphere and dust, the enhancement of the Synth’s eyes to make them a more startling white and the removal of human breath thus making the individual a synthetic creation.
There were numerous assets to the production, put together into the final timeline at various stages of the project pipeline. Many of these came from a third party both pre and post conform necessitating additional work in the online stage. Additional media was managed across Encore’s network utilising their asset tracking software, ensuring all of the shots were readily available and made it into the right timeline.
Channel 4’s first international co-production, Humans is written by Sam Vincent and Jonathan Brackley (Spooks, Spooks: The Greater Good), and based on the award-winning Swedish sci-fi drama “Real Humans”. The series (8 x 60’) is produced by Kudos (Utopia, Broadchurch) in association with Matador Films (Real Humans). Directed by Sam Donovan (Utopia), executive producers are Jane Featherstone (Broadchurch, Utopia) and Derek Wax (The Hour, Occupation) for Kudos with Chris Fry (The Smoke) producing for Kudos, and Henrik Widman and Lars Lundström for Matador Films.
The talented cast includes William Hurt (A History of Violence,), Katherine Parkinson (The IT Crowd, The Honourable Woman), Colin Morgan (Merlin, The Fall) and Rebecca Front (The Thick Of It, Just William).
Humans premieres in the UK on the 14th June at 9pm (Channel 4) and in the US 28th June (AMC).
The Interceptor is a gripping eight-part crime drama about a dedicated surveillance team tasked with tracking down some of country’s most prolific and dangerous criminals.View Details
June 05, 2015
The Interceptor is a gripping eight-part crime drama about a dedicated surveillance team tasked with tracking down some of country’s most prolific and dangerous criminals.
O-T Fagbenle (Looking) stars as Ash, a recent recruit to the team that is known as UNIT with Eastenders’ Jo
Joyner cast as feisty wife Lorna. Robert Lonsdale, Anna Skellern, Charlie De Melo, Ewan Stewart and Lorraine Ashbourne
complete the team whilst Trevor Eve, Gary Beadle and Lee Boardman all form part of the criminal underworld.
Encore London provided picture post-production services for the series with Jet Omoshebi grading, Andrew Cave conforming, Simon Brook onlining and Harriet Dale supervising.
The Interceptor was shot in 4K on the Red Dragon and whilst initial tests were anamorphic it was decided to shoot on spherical lenses, cropped at 2:40 to create a filmic look reminiscent of the cop shows from the 70’s that creator Tony Saint had grown up with. Together with DoP Sam McCurdy BSC, Jet created a unique identity for this urban story, set and filmed in London.
Co-produced by BBC Drama Production and BBC Worldwide Productions for BBC One, The Interceptor is created, written and exec produced by Tony Saint (Margaret Thatcher: The Long Walk to Finchley) and Sarah Brown (Oliver Twist) with Patrick Schweitzer (Doctor Who) producing and Farren Blackburn (Luther) directing.
The Interceptor is an 8-part weekly series premiering on BBC One Wednesday June 10th at 9pm.
Martin Clunes set out on an international journey to investigate the extraordinary relationship between man and beast.View Details
May 31, 2015
Martin Clunes set out on an international journey to investigate the extraordinary relationship between man and beast.
Posted at Encore London, the 2 x 60 minute documentary series was graded by Paul Ensby and onlined by Rob Cooper
with Karl Mainzer providing the sound design and mix and Harriet Dale producing.
From birds to bears, and from pets to primates, involving ancient and modern techniques and partnerships, Martin observes humans and animals working side by side in ways that have existed and evolved during hundreds of millennia.
Bringing alive Martin Clunes’ adventures in Man & Beasts was a dream for sound mixer Karl. Locations as far and wide as Japan, Alaska, India and Nepal made for a spectacularly lush and multi layered soundscape. Full foley was added throughout the series to help give each animal more presence and character and authentic animal vocals recorded on location were post dubbed to personalise each animal, culminating in a rich and dramatic experience for the viewer of this fascinating series.
Sound Editor, Laurence Williamson commented:
"I watched the films on tx at home. Normally when I do this there are some aspects of the post that I am dissatisfied with. However on this occasion I was sitting at home thinking 'this mix is really good.' Everything was very well balanced with a fantastic richness of extra sounds added in. Genuinely, this was the first time in a long time that I wasn't disappointed, wishing that I'd intervened more at the time. I didn't need to, you did a really great job. The picture finishing was also first class, so your facility is well named!"
Encore and Deluxe Media have created a seamless workflow that encompasses the conform, grade, online edit and deliveryView Details
May 01, 2015
Encore and Deluxe Media have created a seamless workflow that encompasses the conform, grade, online edit and delivery
Deluxe’s leading broadcast facility Encore and global content management business Deluxe Media are collaborating
to provide the post production and content management work on Thunderbirds Are Go, ITV’s major new reinvention
of the iconic Thunderbirds series .
Working in unison, Encore and Deluxe Media have created a seamless workflow that encompasses the conform, grade, online edit and delivery of a master pro-res file, which is being undertaken by Encore for ITV Studios, and the creation of multi-version DPP files by Deluxe Media on behalf of ITV Studios Global Entertainment.
Supervised by Head of Production Harriet Dale, Encore’s creative team is comprised of award-winning colourist Paul Staples, who is grading all 26 episodes of the new series on the Nucoda, together with Online and VFX Editor Simon Brook who is providing animation enhancements and worked on the complex end credit sequence on the DS Nitris and Andrew Cave and Will Coker who are both conforming, again on the Nucoda.
Paul was delighted to be selected to grade the iconic series saying:
"I was very excited about the opportunity to work on Thunderbirds Are Go. I, like many others, have been a massive fan since my childhood and didn’t know what to expect upon entering into the project.
We at Encore were treated to some tantalising short pre vis sequences that gave a hint of what we were to expect.
However, I for one was completely unprepared for what was to come. Each episode is in fact a mini feature film that feels wholly cinematic and full of jeopardy.
As the project colourist, it was clear from the outset that expectation was high. Inevitably there is a challenge in managing continuity across a very new and evolving workflow. This workflow brings in material from all around the world, however this isn’t simply a shot to shot match grade. Whilst one may imagine the work is completed at the FX stage, this is in fact just the starting point and the full gamut of tools, bells and whistles have a place in the grade to tighten the drama and push the sense of light and shade.
I have been working extremely closely with Director David Scott who has provided me with detailed notes and stills, which has made life much easier and really helps me get inside the project. With a clear understanding of the intent, I can offer input from my own experience that has been met with great aplomb.
The films are treated in the grade as if they had been shot like a live action feature film, not an animated TV show. We work into the material to bring out the drama, building tension where the story requires and generally adding to the sense of atmosphere.
My favourite scenes are the exteriors of Tracy Island that are graded to point to their geographic location. David Scott tells me that it is actually based on an island that he has visited and that the light is perfectly reproduced!
I find the grading process on these films fascinating. A large part of my experience in the industry is film laboratory based and its fair to say that Thunderbirds Are Go is quite different from anything I’ve ever worked on before. The passion brought to it in every department is quite staggering, and shows how popular the Tracy family still is.
It will come as little surprise for those that are interested that my favourite machine is the awesome Thunderbird 2, though Thunderbird 3 comes a close second!"
Upon completion of the picture post-production by Encore a master pro-res file is delivered into Deluxe Media who subsequently create multi-version DPP files for broadcast, including a subtitled version for the deaf and hard of hearing and audio description for the blind and partially sighted as Margaret Lazenby, Head of Media Access Services explains:
“It is wonderful to be working on this updated classic show and this version, unlike the original when subtitling for children’s programming was not considered a priority, is accessible to the widest possible audience. Our aim with both the subtitles and audio described versions is to maximise the entertainment value for the younger viewer, ensuring we retain and reflect all the action and pace, and hopefully contribute to its success.”
Encore London is delighted to have provided picture and sound post-production services for ITV’s new wartime drama Home Fires,View Details
May 01, 2015
Encore London is delighted to have provided picture and sound post-production services for ITV’s new wartime drama Home Fires,
Encore London is delighted to have provided picture and sound post-production services for ITV’s new wartime
drama Home Fires, which premieres on ITV this Spring.
Set in the fictional town of Great Paxford in rural Cheshire, the story follows the interwoven lives of members of the local women’s institute in wartime Britain, a remarkable collective facing extraordinary pressures having been separated from the male members of their families during the conflict.
Francesca Annis and Samantha Bond lead an all-star ensemble cast that includes
Ruth Gemmell (Utopia), Mark Bonnar (Line of Duty), Claire Rushbrook (My Mad Fat Diary), Mark Bazeley (The Suspicions of Mr Whicher), Frances Grey (The Widower) and Ed Stoppard (Cilla).
Supervised by Senior Post Producer Max Caswell, Encore’s creative team comprised of RTS award-winning Colourist Paul Staples, Online and VFX Editor Simon Brook, BAFTA award-winning Sound Designer/Mixer Karl Mainzer, Sound Editor Joe Fletcher and Supervising Sound Editor Chris Roberts.
Colourist Paul Staples met with Director Bruce Goodison and Director of Photography Joel Devlin during pre-production to test grade some short sequences. Joel selected Kowa lenses to give the series an authenticity and to lend the era feel a sense of truth whilst Paul focused on creating the perfect period grade as he explains:
“I love the early colour film stocks, especially Eastman Kodak’s Kodachrome colour reversal and felt that the way we managed the colour in the grade was central to selling the production’s overall identity. For me the ‘film stock’ background that one sets the production against should envelope and embrace the production design, tying together the elements and placing them into a time without overstating or creating an overly obvious look”.
Given that each episode is set some months apart from the last, the six episodes move through various seasons, this journey is reflected in the grade and serves to underpin the dramatic arc of the story.
Impressive VFX, some of which were created in-house by Online and VFX Editor Simon Brook, who also created the opening titles, sit seamlessly within the production, adding to the beautiful and authentic feel of a show that brims with emotion.
Sound Editor Joe Fletcher crafted audio that perfectly reflected the era. The use of the exact cars, trucks and planes from that period authenticated the piece and original radio announcements were sourced to bed through the scenes. Joe’s sound design, together with Samuel Sim’s emblematic score and Karl Mainzer’s rich, multi-layered and authentic sound mix helped drive home the emotions of each character and give a very real sense of what life was like in wartime Britain.
Inspired by the Julie Summers book, Jambusters, Home Fires is created by Simon Block (Lewis) who shares writing duties with Mart Burt (Coronation Street) and Tina Pepler (Downton).
Directed by Bruce Goodison (My Murder) and Robert Quinn (Death in Paradise), the series is produced by ITV Studios. Francis Hopkinson (Chasing Shadows) and Catherine Oldfield (Fingersmith) exec produce with Sue De Beauvoir (Merlin) producing episodes 1-3 and Jeremy Gwilt (Foyle’s War) episodes 4 - 6.
Home Fires premieres on ITV on Sunday 3rd May at 9pm and will be shown as 6 x 1 hour episodes over consecutive weeks.
Jet Omoshebi is voted the UK’s top TV and Film Colourist in the March edition of Televisual.View Details
March 20, 2015
Jet Omoshebi is voted the UK’s top TV and Film Colourist in the March edition of Televisual.
Huge congratulations to Encore’s Jet Omoshebi, voted the UK’s top TV and Film Colourist in the March edition
Televisual’s annual poll singles out the colourists that have had the biggest creative impact over the last year with rankings devised by a combination of votes by fellow grading artists and producers together with colourist award nominations and wins.
Jet is credited with creating some of the most visually stunning and unique looking television programming in recent years, as one of her voting peers says: “What’s great about Jet is that she avoids grading clichés, everything she does has a fresh look about it.”
Jet’s recent credits include Fortitude, Arthur and George, Da Vinci’s Demons, Mapp and Lucia and Death in Paradise.
Encore London were thrilled to see Murdered by my Boyfriend scoop best single drama at this year’s Royal Television Society Awards.View Details
March 20, 2015
Encore London were thrilled to see Murdered by my Boyfriend scoop best single drama at this year’s Royal Television Society Awards.
Described as “bold and exceptional” by the awarding jury, the harrowing BBC Three drama is based on true events
and chronicles the heart-breaking tale of a young girl unable to escape the years of physical and emotional abuse
at the hands of her partner.
First broadcast in summer 2014, Encore London provided picture and sound post-production services for this emotive drama with the creative team comprising Paul Staples (colourist), Adam Eddy (Online Editor and VFX) and Srdjan Kurpjel (Sound Designer and Mixer).
In an email to Alice Greenland, Senior Post Producer at Encore London, Producer Pier Wilkie said to the team: “ Many thanks again for your wonderful contribution to this film, well done on an award we all share.”
Encore London were thrilled to see Murdered by my Boyfriend scoop best single drama at this year’s Royal Television Society Awards, held at Grosvenor Hall in London on the evening of March 17th.
Encore London provided picture and sound post-production services for The Royals - supervised by Alice GreenlandView Details
March 19, 2015
Encore London provided picture and sound post-production services for The Royals - supervised by Alice Greenland
Lionsgate’s first scripted drama, a gloriously trashy portrayal of a fictional British Royal Family hit screens this March.
The Royals shows the British Monarchy as it’s never been seen before, unashamedly riotous and embroiled in a scandalous series of decadent and debauched events that include bed-hopping and drug taking.
Starring Elizabeth Hurley as the seductive Queen Helena, Vincent Regan co-stars as her husband, King Simon whilst the legendary Joan Collins camps it up as the Queen’s Mother, the Grand Duchess of Oxfordshire.
Encore London is delighted to have provided picture and sound post-production services for The Royals. Supervised by Alice Greenland, the creative team comprised of Paul Staples (Colourist), Chris Roberts (Supervising Sound Editor), Michele Woods (Dialogue Editor), Sue Lenny (Sound Effects Editor), Joe Fletcher and Sam Baker (Assistant Sound Editors) and Mathew Knights (Sound Re-recording Mixer).
Filmed on location at Blenheim Palace in Oxfordshire and at 3 Mills Studios, Encore were on-site at 3 Mills providing a complete near-set dailies service that was overseen by Encore Dailies Producers John Bush and Alex Parrett. The footage was loaded into Encores Mobilab Dailies system where audio was synched, QC’d and rendered out to Avid Media for editorial, DAX files for Lionsgate and DVD’s for production.
Encore’s award-winning Colourist Paul Staples provided the grade, supporting the storytelling by establishing a polished, glossy look whilst giving the face that is usually unseen by the public a grittier, more realistic feel.
“It's been a lot of fun working on this series,’” says Supervising Sound Editor Chris Roberts, “The show’s creator Mark Schwahn had a very clear idea of how he wanted The Royals to sound. Once we had his brief it was very easy for Michele, Sue and I to deliver tracks that we knew would work for the show and that our Re-recording Mixer Mat Knights could shape with Mark into some hugely entertaining episodes."
Mark’s availability and schedule meant that the second half of the final mix took place remotely using Source Connect with the Encore team working night shifts in London and Mark holed up at sister company Chase Audio in LA. Whilst still a fairly unconventional way to mix and review, the sessions ran very smoothly and the technology worked well which led to a seamless experience for all concerned.
Created and directed by One Tree Hill’s Mark Schwahn, the series has been re-commissioned for a second series ahead of the first even airing.
The Royals premieres on the E! channel in the US on March 15th and in the UK on Wednesday 25th March at 9pm.
Supervised by Encore London’s Head of Production, Harriet Dale, Arthur and George was graded by Colourist Jet Omoshebi and mixed by Sound Mixer Mat Knights with Rob Cooper providing the online editView Details
February 26, 2015
Supervised by Encore London’s Head of Production, Harriet Dale, Arthur and George was graded by Colourist Jet Omoshebi and mixed by Sound Mixer Mat Knights with Rob Cooper providing the online edit
Arthur and George, a three-part adaptation of Julian Barnes’ acclaimed novel of the same name premieres on ITV this March.
Martin Clunes (Doc Martin) stars as the celebrated novelist Sir Arthur Conan Doyle, best known for creating Sherlock Holmes, one of history’s most revered fictional detectives.
In a screenplay by Ed Whitmore (Silent Witness, Waking the Dead), the drama is set in 1906 and focuses on a true life mystery known as ‘The Great Wyrley Outrages’ documenting Conan Doyle’s pursuit of one of history’s most notorious miscarriages of justice.
Together with his trusted secretary Alfred ‘Woodie’ Wood, played by Charles Edward, Conan Doyle examines the case of a young Indian solicitor; George Edalji (Arsher Ali) whom he believes has been wrongly convicted of writing obscene letters and mutilating horses and cattle in a Staffordshire mining village.
Supervised by Encore London’s Head of Production, Harriet Dale, Arthur and George was graded by Colourist Jet Omoshebi and mixed by Sound Mixer Mat Knights with Rob Cooper providing the online edit, Charlie Bedwell some VFX and Darren Jennings ADR recordings.
Shot on the Arri Alexa by Cinematographer Suzie Lavelle, the lighting had a soft and filtered look that Colourist Jet Omoshebi took one step further by applying a fine texture together with a subtle, gentle vignette in the grade.
For Mat Knights, who mixed the series, it was an enjoyable return to the early twentieth century, “It is always nice to work on period dramas as it brings with it the sounds of steam and horse powered vehicles and machines which are always great to play around with,” he explains.
“I welcomed the sound team of John Downer and Sarah Morton back into Encore’s studio 1 for Arthur and George. We mixed the series on the AMS DFC desk with a combination of Protools and Waveframe feeding in the sound and recording the mixes back into Protools. The Waveframe is a great old work horse of the digital editing systems, by utilising studio 1 and the physical inputs of the DFC and our outboard reverb units and FX processors we were afforded as much flexibility with the sound as possible”, he adds.
Produced by Philippa Braithwaite and Trevor Hopkins for Buffalo Pictures, the series is directed by Stuart Orme.
Arthur and George premieres on ITV Monday 2nd March at 9pm and will be shown as three consecutive hour-long weekly episodes.
Encore were delighted to welcome the production back for a third time with Paul Staples returning to grade and Nick Timms providing online editing and VFX duties.View Details
February 10, 2015
Encore were delighted to welcome the production back for a third time with Paul Staples returning to grade and Nick Timms providing online editing and VFX duties.
Emmy award-winning actor Jeremy Pivens returns as the charismatic American entrepreneur Harry Selfridge for a third season of the popular drama Mr Selfridge.
The series opens in 1919 at the end of the First World War, with Harry in mourning following the passing of his beloved wife Rose. The viewer is then catapulted forward nine months, to the day of eldest daughter Rosalie Selfridge’s wedding to a Russian prince, one Serge de Bolatoff, played by Kara Tointon and Leon Ockenden respectively.
Newcomers to the cast include the fantastic Zoe Wannamaker as Russian princess Marie de Bolatoff, the mother of the playboy Prince Serge, whilst Kara Tointon’s real-life sister Hannah is introduced as Rosalie’s younger sister Violette.
Produced by ITV Studios for ITV, the series is produced by Dominic Barlow (The Mill, The Crash, Garrow’s Law), and executive produced by Kate Lewis (Lightfields, Vera, Marchlands) for ITV Studios alongside Kate Brooke and Kate O’Riordan.
Mr Selfridge premiered on Sunday 25th January and will be shown as 10 hour-long weekly episodes on ITV at 9pm.
Encore is thrilled to have worked extensively on the production completing picture and sound post-productionView Details
January 30, 2015
Encore is thrilled to have worked extensively on the production completing picture and sound post-production
Fortitude, Sky Atlantic’s most ambitious drama to date premieres this Thursday at 9pm. With a budget rumoured
to be around the £25m mark, the series promises to be one of the most impressive of 2015.
Set in the fictional town of Fortitude, a small settling in the Artic Circle where polar bears outnumber humans by three to one, the community is stunned when a violent crime, the first in their history, threatens to tear their very existence apart.
An international, award-winning cast includes Sir Michael Gambon as terminally ill wildlife photographer Henry Tyson, Sofie Grabol as the town’s governor Hildur Odegard, Stanley Tucci as DCI Eugene Morton, Richard Dormer as the local Chief of Police, Sheriff Dan Andersson and Christopher Eccleston as the British scientist who heads up the Arctic Biology department at the Fortitude Arctic Research Centre.
Encore London is thrilled to have worked extensively on the production, with both picture and sound post-production services completed at their Wardour Street facility, all supervised by Alice Greenland, one of Encore’s Senior Post Producers.
The picture creative team comprises Colourist Jet Omoshebi who helped create the atmospheric and unsettling frozen landscape together with Online Editors Nick Timms, Simon Brook and Adam Eddy.
Mixed by Associate Sound Mixer Howard Bargroff, Encore’s Chris Roberts was the Supervising Sound Editor. Long-standing Encore collaborators Blair Jollands (Sound Effects Editor/Sound Designer) and Phil Barnes (Dialogue Editor) together with Encore’s Assistant Sound Editor Joe Fletcher complete the team.
'Fortitude' is an exciting and ambitious show for Encore Sound to be involved with," says Supervising Sound Editor Chris Roberts. "It was immediately apparent from reading the scripts that the series represented some really bold storytelling and offered some great creative opportunities.”
With such an ambitious narrative, and shooting taking place in various locations across Iceland and the UK, establishing clear lines of communication and workflows was essential. Before shooting began, key production and post-production personnel came together to discuss practical and creative approaches meaning that they were able to identify and resolve any issues before they became problems.
Once shooting was under way, one of the first things to do was capture the unique sounds of the Icelandic locations. Sound Designer Blair Jollands took his recording kit and flew out to join the production crew in Reyðarfjörður, in the glacial east of Iceland. "I was able to record the bitter cold winds, the ice and the space that was to become part of our sound pallet," says Blair. "I was also able to record full "sound kits" of all the vehicles from the Skidoos to the patrol boats, the huskie sleds and the helicopters and the very particular sound of the snow tyres."
Encore’s Chris Roberts initially had concerns about shooting dialogue scenes in such extreme locations, but his fears proved to be unfounded. "The Production Sound Mixer, Rudi Buckle, and his team, did an amazing job of capturing great dialogue, an exceptional achievement when you see just where they were shooting!" says Chris. "I was expecting the bleak, windy exteriors and rustling Arctic Parka coats to make a lot of the dialogue unusable, but we were more than happy with the wonderfully clear recordings provided."
"We had one of the lowest ADR counts I have ever worked with, " says Dialogue Editor Phil Barnes. "It helps keep everything real. The many different accents in this show are part of what makes Fortitude such a fascinating and unusual place. We could go from four nationalities chatting atop a windy glacier to the hush of an interview room. It was very important that none of the dialogue in these scenes would be an issue in the sound mix and would just ‘be there’."
Phil, a freelance sound editor, was also impressed with the Encore Sound workflow. "Creating seamless and clear dialogue tracks in many accents that everyone can hear takes time," says Phil. "The best way to create that time is with a seamless workflow of data from location sound to the cutting room to me through all the soft locks, final locks and recuts. This is what Encore delivered in the most efficient way possible."
The creative challenge for the Encore Sound team was to realise a rich sound for the epic look of the film that also offered an equally odd air to writer Simon Donald’s labyrinth of cryptic characters. "We were tasked with creating the Fortitude environment as a de-stabilised and isolated world," says Associate Re-recording Mixer Howard Bargroff. "With all this great source material we had a huge sonic palette with which to really hone a detailed and sympathetic mix; tightly coiled in with and supportive of the narrative."
Blair Jollands, with help from Encore's Joe Fletcher, provided carefully constructed sound effects tracks. "Our brief was to keep the sound raw and organic and avoid predictability," says Blair. "Attention to detail was important - for example, the sounds of the lighting units and the morgue refrigeration were mixed with out of tune versions of themselves to give an uncomfortable and edgy element to the location. Our ice recordings of glacial carving were mixed together with sub frequency tones to give voice to one of the key narrative sounds."
"The unsung heroes in creating great soundtracks are often the foley crew." says Supervising Sound Editor Chris Roberts. "We’ve collaborated with the team at Universal Sound for many years, and yet again they delivered some really beautiful, detailed work. If we couldn't record sound out in the field or find it in the library, we knew it would be there in the foley tracks, which meant we could create some really wonderful, subtly focused sound moments when the story needed it."
The final element to add to the Fortitude soundtrack, via Music Editors Laurence Love Greed and Joe Rubel, was composer Ben Frost's brilliantly bizarre mix of choral music and electronic ambience.
"This show was always going to be great fun to work on," says Encore’s Associate Re-recording Mixer Howard Bargroff. "With such a wonderfully weird world in which Fortitude exists, having such a depth and variety of sound to chose from made the mixing process an absolute pleasure. As the series progresses the soundtrack builds, changes and augments the constantly evolving characters and story. As you'll see and hear over the next few months, it's a rollercoaster of a show!"
Produced by Fifty Fathoms (Tiger Aspect/Endemol) Fortitude is created and written by Simon Donald (Low Winter Sun), Executive Producers are Patrick Spence, Simon Donald and Frith Tiplady for Fifty Fathoms, and Anne Mensah and Cameron Roach for Sky. The twelve episodes are variously directed by Sam Miller, Richard Laxton, Hettie MacDonald and Nick Hurran and produced by Matthew Bird and Trevor Hopkins.
Fortitude is the first Sky original programme to premiere simultaneously across the UK, US, Ireland, Germany, Austria and Italy. A Sky Atlantic/Pivot co-production, episode one will be unveiled this Thursday 29th February at 9pm on Sky Atlantic in the UK and 10pm ET on Pivot TV in the US with 11 further weekly hour-long episodes subsequently scheduled.
BBC One’s popular light-hearted detective drama series Death in Paradise, returns to screens on Thursday 8th January for a fourth season.View Details
January 09, 2015
BBC One’s popular light-hearted detective drama series Death in Paradise, returns to screens on Thursday 8th January for a fourth season.
The new series opens with the death of a businessman mysteriously killed during a séance. Whilst the family
suspects a ghost that is said haunt the rum distillery he owned, DI Humphrey Goodman seeks to find a more logical
Kris Marshall leads as DI Humprey Goodman, reprising his role as the English detective charged with solving a series of murder puzzles on the fictional Caribbean island of Saint-Marie. Sara Martins also returns, in the role of DS Camille Bordey, whilst guest stars for this series include Men Behaving Badly’s Neil Morrissey, Broadchurch’s Will Mellor, Eastenders’ Hetti Bywater and Coronation Street’s Natalie Gumede.
Encore London are delighted to again provide picture and sound post production services for this show, with the team comprising Jet Omoshebi (Colourist), Adam Eddy (Online Editor), David Old (Sound Mixer), Joe Fletcher (SFX Editor), Chris Roberts (Supervising Sound Editor) and Ben Brazier (Dialogue Editor). Senior Post Producer Max Caswell supervised throughout.
Death in Paradise is shot on location, on the stunning Caribbean island of Guadeloupe. Whilst a beautiful environment in which to work, there have been some very real challenges faced historically from an audio perspective as David Old, Head of Audio at Encore London, explains:
“Because of some of the sound issues that we encountered last year, we took extra care this year to have advance meetings with the production sound crew, led this year by Barry O’Sullivan, to try and head-off as many potential issues as possible before the shoot began. These days there is much to discuss, not least how to deal with the vital metadata, all of which can make the road through post as smooth as possible.
Thanks to this advance planning, we achieved a significantly reduced ADR count compared to last year. This pattern was maintained into the second block when Keith Nixon took over. It should be noted that we were also luckier with the weather this year – in that part of the world it isn’t all unbroken sunshine, and wind is often a significant problem“ adds David.
The sound team was able to work closely with both the offline cutting rooms and online editor to update pictures quickly and accommodate any last-minute changes that often needed to be made whilst Sound Mixer David Old was able to exercise one of Encore’s new Avid S6 desks alongside Pro Tools Version 11. Together they provided easy mixing of the whole show in the newly refurbished Studio 2 in Encore’s Wardour Street facility.
Death in Paradise premieres on BBC One Thursday 8th January at 9pm and will be shown as eight consecutive weekly episodes.
The second series of Broadchurch with award-winning Colourist Paul Staples grading and Adam Eddy providing the online edit and VFX.View Details
January 07, 2015
The second series of Broadchurch with award-winning Colourist Paul Staples grading and Adam Eddy providing the online edit and VFX.
Broadchurch, the most talked about show of 2013 and winner of numerous awards including a best actress BAFTA
for Olivia Colman, returns to ITV this January.
Set in a picturesque coastal town in Dorset, David Tennant and Olivia Colman reprise their roles as investigating detectives Alec Hardy and Ellie Miller. Also returning are the victims’ parents from the first series played by Jodie Whittaker and Andrew Buchan together with Arthur Darvill and Jonathan Bailey who star as the Reverend Paul Coates and local reporter Olly Stevens respectively. New faces include Marianne Jean-Baptiste, James D’arcy and Charlotte Rampling whose characters are yet to be revealed.
Shrouded in secrecy, with no advance press screenings and cast and crew all locked into non-disclosure agreements, Chris Chibnall’s Broadchurch is THE most eagerly anticipated television show in recent memory.
Encore London were thrilled to again provide picture post-production services for this, the second series, of Broadchurch with award-winning Colourist Paul Staples grading and Adam Eddy providing the online edit and VFX. Max Caswell, Senior Post Producer at Encore, supervised throughout.
“I was very excited to have the opportunity to grade season two of Broadchurch” says colourist Paul Staples, “Obviously, following the massive success of season one, it was important to manage the visual expectation of the audience. Mindful of this, the grade shows a very linear, progressive aesthetic that viewers will at once recognise and at the same time find refreshing”, he adds.
Online and VFX Editor Adam Eddy elaborates:
“Series 2 of Broadchurch carries on where the first left off, much of my work, which was largely completed on the Avid DS, was concentrated on areas where continuity needed addressing including a number of sky replacements.
I also utilized Nuke to complete some of the more complex tracking shots in addition to 3D work.”
Written by Chris Chibhall, who also exec produces for Imaginary Friends together with Jane Featherstone for Kudos, the series is produced by Richard Stokes. James Strong who directed five episodes for the first series returns to direct episodes one and two of this new season.
Broadchurch premieres Monday 5th January at 9pm on ITV and will be shown across 8 consecutive weeks.
BBC One’s eagerly awaited three-part adaptation of E F Benson’s much-loved ‘Mapp and Lucia’ novels premieres this December on BBC One.View Details
December 22, 2014
BBC One’s eagerly awaited three-part adaptation of E F Benson’s much-loved ‘Mapp and Lucia’ novels premieres this December on BBC One.
Set in the summer of 1930, in the fictional town of Tilling –actually the quaint medieval town of Rye, as reimagined
by E.F. Benson - this comedy of manners is beautifully brought to life in Steve Pemberton’s adaptation of the
An impressive cast includes Academy award nominee Miranda Richardson (Belle) and Anna Chancellor (The Hour) as the small-town rivals Miss Elizabeth Mapp and Mrs Emmeline ‘Lucia’ Lucas, whilst an impressive all-star supporting cast includes Steve Pemberton (The League of Gentlemen) as Georgie Pillson, Lucia’s devoted chief courtier and Mark Gatiss (Sherlock) as Raj Army veteran Major Benjy.
Encore London is thrilled to have provided complete picture post-production services for this flagship drama with the creative team comprising Jet Omoshebi (grade) and Nick Timms (VFX). Encore’s VFX Exec Producer Meg Guidon, together with Senior Post Producer Max Caswell, supervised the project throughout.
Encore’s Nick Timms went on set earlier in the year to supervise a green screen shoot with the two title characters Miranda Richardson (Mapp) and Anna Chancellor (Lucia). The VFX work required the green screen footage of the actors to be composited against a digital matte painting of the river estuary – the glorious ‘bella vista’ referred to by Lucia.
The geography of the DMP, was created by Nick, and is based upon photographic reference of the estuary at Rye. The 2D elements of which were created in Photoshop and composited in Nuke X by VFX Supervisor Garrett Honn.
In order to create an authentic 1930’s era Tilling, all signs of modernity and 21st century living were removed from the footage of present day Rye, using Avid DS.
Other VFX work included creating a wintry scene at Tilling church for a Christmas service. As principal photography took place in high summer, this was quite a challenge and involved hiding a lot of leafy green foliage both on set and in post.
To complete the wintry feel a scattering of practical snow on set was enhanced in Nuke and DS, using CG to create an atmospheric, ice-frosted shot of the church and the appearance of light snowfall.
The grade was also instrumental in creating the Christmas look, with a de-spill of the green colour elements creating a more wintry feel to scenes that in actuality were really verdant!
The VFX for this project were realised using a combination of Nuke X, Avid DS, After Effects, Mocha, and Photoshop.
Made by BBC Drama Production for BBC One, ‘Mapp and Lucia is a three-part mini-series directed by Diarmuid Lawrence (Quirke: The Silver Swan) and written by Steve Pemberton (Psychoville) with Susie Liggat (The Café) producing and Lisa Osborne (The Mystery of Edwin Drood) exec producing.
‘Mapp and Lucia’ premieres on BBC One on Monday 29th December and will be shown across 3 consecutive evenings.
Senior Dubbing Mixer at Encore London has been nominated as part of the sound team for his work on Our World War,View Details
December 01, 2014
Senior Dubbing Mixer at Encore London has been nominated as part of the sound team for his work on Our World War,
The RTS Craft and Design Awards take place this Monday 1st December at the London Hilton on Park Lane in London.
Chaired by Cheryl Taylor, Controller of CBBC and hosted by Comedienne Jennifer Saunders, the awards span 25 categories and honour the behind-the-scenes professionals in television production.
Karl Mainzer, Senior Dubbing Mixer at Encore London has been nominated as part of the sound team in the category of Sound - Drama for his work on Our World War, a BBC Factual Production for BBC Three.
Based on the first-hand experiences of young British soldiers, engaged in war some 100 years ago, Our World War is an immersive and innovative representation of life on the battlefield that uses body and gun barrel mounted cameras, overhead battle scene animations, thermal imaging and a very modern soundtrack in its storytelling.
The sound design and mixing were completed by Karl who explains:
“The director, producer, Production Sound Mixer Nigel Albermaniche and I believed capturing a more user-generated / documentary sound on set and designing a unique period accurate documentary-style soundscape, together with a full-bodied mix was key to bringing the sensation of WW1 to a modern audience.
Given that this is a BBC Three production, it was important to engage a young audience used to the depiction of modern combat from programmes such as the BAFTA winning documentary series ‘Our War’ (mixed at Encore Post), where user-generated sound can support more of the narrative story, than the sometimes whipping and scratchy picture and overly post sunk sound.
To achieve a realistic soundtrack, all gunshot, tank and aircraft sound effects are authentic recordings of WW1 machinery and weaponry. Actors wore earpieces on set - and gunshots, tanks, and sound effects of the war were played in their ear live, to give them the real feel of constant barrage and maximise the authenticity of their performance.”
Written by Joe Barton and directed by Bruce Goodison and Ben Chanan, Our World War is produced by Sue Horth and executive produced by Colin Barr. The series was first shown in August 2014 to mark the centenary of the Great War.
The popular detective drama, Ripper Street, returns on Amazon Prime Instant Video this November as one of the most hotly anticipated series of the yearView Details
November 14, 2014
The popular detective drama, Ripper Street, returns on Amazon Prime Instant Video this November as one of the most hotly anticipated series of the year
Set in Victorian London’s East End in the aftermath of the infamous Jack the Ripper murders, the show returns
in 1894, four years after the last series left off. Matthew Macfadyen (Spooks) reprises his role as Detective
Inspector Edmund Reid, whilst Jerome Flynn (Game of Thrones) stars as the recently promoted Detective Inspector
Bennet Drake and both Adam Rothenberg (The Divide) and MyAnna Buring (Downton Abbey) return as Cpt. Homer Jackson
and Long Susan Hart respectively.
Amazon’s commissioning of Ripper Street sets a precedent for British television drama, as it is the first time that a Video on Demand provider has jumped in to fund a drama previously axed by one of our staple broadcasters, the BBC.
Encore London is delighted to be providing picture and sound post-production services for this gripping crime thriller with the creative team comprising Paul Staples (Colourist), Nick Timms (Online Editor) and David Old (Sound Mixer). Encore London’s Head of Production, Harriet Dale, supervised the project throughout.
Picking up the story four years after the last series ended, life in Whitechapel has not improved. For the audio, top of the list of requirements was the sound of ‘bleak’ as Sound Mixer David Old explains:
“Even market traders needed to sound anything but cheerful, of course, much of this atmosphere was provided by Dominik Scherrer’s imaginative score, complemented by Phil Freudenfeld’s FX. Jussi Honka took on the task of making the dialogue sound clear, and I completed the mix in the newly refurbished Encore Studio 2, complete with Avid S6 Console and Pro Tools 11 supplied by Scrub”.
Encore’s award-wining colourist Paul Staples says of the grade, “The primary aim for grading Ripper Street was to draw the audience into an all encompassing world, where they can almost touch and smell the characters, where the costumes sing against a backdrop of decay and poverty”.
Created by Richard Warlow, writer of episodes 1,4,5 and 6 in the new series, Ripper Street is produced by Tiger Aspect with Will Gould exec producing on their behalf. The series is directed by Andy Wilson (Ep, 1,2 and 4), Anthony Byrne (Ep. 3,5 and 6) and Saul Metzstein (Ep. 7 and 8) with Lucy Dyke producing.
Ripper Street premieres on Amazon Prime Instant Video on Friday 14th November at 9pm, with new episodes streamed weekly until the series finale on Boxing Day. With no restrictions on content or length, the Amazon series promises to contain exclusive and extended scenes that will not feature in the BBC One and BBC America broadcasts, scheduled for early 2015.
Encore London is proud to sponsor this year’s Televisual Factual Festival.View Details
November 10, 2014
Encore London is proud to sponsor this year’s Televisual Factual Festival.
Now in its eighth year, it is a must event for anyone and everyone involved in the business of factual television.
With over 50 of the leading voices in factual television getting to the heart of business and content issues at 14 panel sessions across the two days, further opportunities include 2 ‘Meet the Commissioners’ lunches where commissioners from terrestrial, digital and international channels are on hand for one-to-one discussions and a ‘Pitch for Cash’ competition where pitch finalists will battle it out for a £5,000 prize fund.
Taking place at BAFTA in London’s Piccadilly on Thursday 13th and Friday 14th November, tickets are priced at £325+VAT for a two day pass, £225 + VAT for a one day pass and just £55 + VAT for an individual session. They can be purchased through the festival website:
Frankenstein and the Vampyre: A Dark and Stormy Night, is an hour long documentary that focuses on one of Gothic History’s most important milestones.View Details
October 31, 2014
Frankenstein and the Vampyre: A Dark and Stormy Night, is an hour long documentary that focuses on one of Gothic History’s most important milestones.
BBC Two and BBC Four, together with the British Library, will be exploring all things Gothic this autumn in
a season that celebrates the very best of artistic and architectural work in our cultural history.
Frankenstein and the Vampyre: A Dark and Stormy Night, is an hour long documentary that focuses on one of Gothic History’s most important milestones written and directed by Philip Smith. When, in the summer of 1816 during an evening of ghost story-telling by Mary Shelley and Lord Byron, Frankenstein was born.
A host of prolific art historians, together with some of the world’s most revered Gothic horror and science fiction writers explore what happened on that night, drawing on British Library manuscripts and delving into the archives to uncover how and why one evening’s events has had such a significant impact on modern culture.
Encore London is delighted to have provided picture and sound post-production services for this fascinating documentary with the creative team comprising BAFTA award-winning Karl Mainzer (sound design and mix) and Rob Cooper (Online Editor). Harriet Dale, Head of Production supervised for Encore.
“This is a spooky affair; deathly silences, eerie echoes and heart pounding crescendos, were the order of the day”, explains Karl, Sound Mixer.
“Unceasing creepy undercurrents give our narrator and contributors an atmospheric bed to tell their story from - immersing fact seamlessly into fiction. Intimate first-hand accounts of this fearful night and stirring dramatic performances, coupled with Paul Moessl’s spectral score, make for a spine chilling soundtrack”, he adds.
Frankenstein and the Vampyre: A Dark and Stormy Night is executive produced by Steve Condie for Oxford Scientific Films and Greg Sanderson for the BBC and will be shown on BBC Two on Saturday 1st November at 9pm as part of the BBC’s Gothic Season.
the creative team comprises of Will Coker and Adam Eddy. Alice Greenland, Senior Post Producer at Encore supervised throughout.View Details
October 27, 2014
the creative team comprises of Will Coker and Adam Eddy. Alice Greenland, Senior Post Producer at Encore supervised throughout.
Psychobitches is back! The acclaimed comedy show returns to Sky Arts HD this Autumn for a second series. Psychobitches
first emerged as a one-off for the ‘Playhouse Presents’ strand back in 2012 before being commissioned for a first
series last year. Now back for a second run, the new season sees a return to psychiatrist’s couch where the brilliant
Rebecca Front (In The Thick of It) psychoanalyses some of history’s most iconic (dead!) faces.
With a host of new faces and a number of old favourites from series 1 being reprised, the all-star sketch show features some of comedy’s most celebrated talents including Sam Spiro, Sharon Horgan, Morgana Robinson, Michelle Gomez, Katy Brand, Doon MacKichan, Sophie Ellis-Bexter, Meera Syal, Cardinal Burns, Sheila Reid, Selina Griffiths, Zawe Ashton, Jack Whitehall and Frances Barber.
With picture post-production services proudly provided by Encore London, the creative team comprises of Will Coker (Colourist) and Adam Eddy (Online Editor and VFX). Alice Greenland, Senior Post Producer at Encore supervised throughout.
Psychobitches was shot on the Arri Alexa and graded on the Nucoda Film Master. Colourist Will Coker was thrilled to have the opportunity to work closely with Director Jeremy Dyson, of whom he is long-term fan. Together with producer Pippa Brown they established the pallet and tones for the show.
“The nature of the programme’s premise meant we had a lot of scope and some great fun creating varied looks and themes to suit each sketch or historical heroine featured in it”, says Will, “We applied a warm and friendly pallet as the general overall theme but with scenes as varied as film homages and musical set pieces there were plenty of opportunities to really play around with the grade to help enhance the comedy”, he adds.
Online/VFX Editor Adam’s tasks, somewhat interestingly, included using AfterEffects to create the lasers responsible for bringing Medusa to life!
Produced by Tiger Aspect, Psychobitches is written and directed by Jeremy Dyson (The League of Gentleman) with Pippa Brown producing.
The 6 x 30 minute episodes will air on Sky Arts HD from Tuesday 25th November.
The Broadcast Production and Post Forum takes place on the 5th and 6th of November and will be held at BAFTA in London’s Piccadilly.View Details
October 23, 2014
The Broadcast Production and Post Forum takes place on the 5th and 6th of November and will be held at BAFTA in London’s Piccadilly.
The Broadcast Production and Post Forum takes place on the 5th and 6th of November and will be held at BAFTA
in London’s Piccadilly. It is a unique two-day event for content-makers that explores the talent and technology
behind the major shows on British television today.
Encore’s Jet Omoshebi, who is credited with creating many of the most visually stunning and unique looking television programming of recent years has been asked to join as a guest speaker at this year’s event. Together with Aiden Farrell (The Farm) and Thomas Urbye (The Look), she will discuss her craft in a session entitled ‘Making the Grade’, which is one of the sessions featured in the Craft Studio and will be held on the morning of Wednesday 5th November.
An award-winning colourist with numerous nominations and awards that include the Women in Film and Television Craft Award, Jet’s recent credits include Chasing Shadow, In the Flesh, Da Vinci’s Demons, Luther and Line of Duty.
Tickets are still available for this year’s event – go to http://www.broadcast-forums.com/ for further details.
The classic film’s restoration marks the fifth occasion that Deluxe has restored the BFI’s London Film Festival Archive Gala film since its inception in 2010.View Details
October 21, 2014
The classic film’s restoration marks the fifth occasion that Deluxe has restored the BFI’s London Film Festival Archive Gala film since its inception in 2010.
The 1927 silent film, “The Battles of Coronel and Falkland Islands,” premiered at BFI London Film Festival’s
Archive Gala at Queen Elizabeth Hall on Oct. 16, following extensive restoration by Deluxe in association with
the BFI National Archive.
Directed by Walter Summers, this epic film recreates war on the ocean and presents the two key battles in which the Royal Navy were engaged at the beginning of the First World War—the Battle of Coronel on 1 Nov., 1914, and the Battle of the Falkland Islands on 8 Dec., 1914.
Presented with a stirring new score by award-winning composer Simon Dobson, the piece will be performed by 24 members of the Band of Her Majesty’s Royal Marines, who play in honour of the 24 members of the band who lost their lives with the sinking of HMS Monmouth at the Battle of Coronel.
The classic film’s restoration marks the fifth occasion that Deluxe has restored the BFI’s London Film Festival Archive Gala film since its inception in 2010. Previous titles included Anthony Asquith’s “Underground,” Herbert Ponting’s “The Great White Silence,” Alfred Hitchock’s “The Manxman” and Captain John Noel’s “The Epic of Everest.”
“Deluxe Restoration is proud to have collaborated with the BFI on another silent film restoration,” said Mark Bonnici, head of restoration at Deluxe. “When one considers that 90 percent of silent movies are lost, to be chosen to restore films of such significant cultural importance is an outstanding endorsement of the Deluxe Restoration team and its work.
“We have worked to re-master classics to a first-screening standard for close to a decade and are immensely proud to have played our part in restoring all of the BFI London Film Festival Archive Gala titles to date,” Bonnici added.
All film elements for “The Battles of Coronel and Falkland Islands”, including preservation masters and original nitrate prints, were examined, compared and repaired for scanning by the team at the BFI National Archive, for delivery to Deluxe as 4K DPX files. Months of digital restoration and grading by Deluxe followed, whilst the soundtrack itself was mixed at Deluxe’s Encore London.
“The first stage of the digital restoration process was a stabilization pass of the graded material on Phoenix to smooth out some of the unwanted film movements and instabilities,” said Anthony Cleasby of Deluxe’s restoration team. “These often occur due to film shrinkage over the years and affect the travel of the film through the scanner mechanisms. This was particularly challenging, as so much of the footage consisted of sea shots filmed from a ship. So much care had to be taken not to compromise the motion of the sea.”
“A further pass on Phoenix eliminated film flicker and density fluctuations, thus ensuring that with the semi-automated dirt pass the software was able to successfully detect and remove dirt and debris as well as interpolate images to fill any gaps left by the process,” Cleasby added. “As always, due care and attention was necessary to avoid automated dirt trackers attacking the edges during fast-moving scenes—the manual application of masks over sections with movement was implemented accordingly.”
Other challenges included the intensity of de-spotting required on optical sequences, many of which included actual archive war footage. This was needed to ensure consistency with the studio shot material.
“From a grading perspective, the multiple film sources—together with the inclusion of archive World War 1 footage—made matching the shots scene to scene quite challenging,” Deluxe colourist Stephen Bearman said. “This was due to the inherent differences in quality.”
Encore’s Mathew Knights and Darren Jennings supported mix engineer Andy Deacon and BFI project producer Hannah Partington in the creation of the 5.1 theatrical mix
Parts of the ensemble had been recorded in two different locations. Together with sections of programed sound, all these elements were carefully blended with the subtle use of surround channels to help create an engaging mix that maintained the feel of a live performance. By placing the instruments around the 5.1 image the sound team were able to create the impression of being amongst the band rather than listening from across a room.
Given that the film is entirely composed of a music sound track with little in the way of sound FX, elements of the battle scenes were enhanced by channeling the orchestral bass drum and timpani to the sub bass to generate the experience of the ship’s guns discharging.
Final deliverables from Deluxe include digital and 35mm film screening elements, as well as new 35mm negative and digital masters that will be created as a permanent preservation solution.
“Full restoration of a silent era feature is an incredibly complex endeavor, and our decision to work with Deluxe Restoration was made knowing that their expertise would dovetail productively and creatively with that of the BFI’s Conservation teams,” said Kieron Webb, film conservation manager at BFI National Archive. “Restoration work is based on the fundamental combination of thorough historical research and innovative technical capabilities. For ‘The Battles of Coronel and Falkland Islands,’ that combination has produced the closest reproduction of film-making from nearly ninety years ago in a form truly fit for the biggest of screens.”
The festival premiere of “The Battles of Coronel and Falkland Islands” will be followed by a nationwide release in cinemas and a simultaneous release on BFI Player. A release on BFI DVD will follow.
Encore London is delighted to have provided sound post services for this project with Mathew Knights completing the theatrical mix.View Details
October 13, 2014
Encore London is delighted to have provided sound post services for this project with Mathew Knights completing the theatrical mix.
Sean Spencer’s debut feature film Panic received its World Premiere at this year’s Raindance Film Festival in
London where it was nominated in the category of ‘Best British Feature’.
The Raindance Film Festival has a reputation for showcasing some of the world’s hottest emerging filmmakers with the aim of supporting and promoting independent films and filmmakers from the UK and around the world.
Panic is a story about an agoraphobic journalist named Deeley, his obsession with female neighbour, Kem and his struggle to overcome his fears of the outside world after witnessing her violent kidnapping.
Starring David Gyasi (Cloud Atlas) as Deeley and Yennis Cheung (Skyfall) as Kem, Encore London is delighted to have provided sound post services for this project with Mathew Knights completing the theatrical mix.
“Panic was a great project to work on with sound designer Jay Price who I have collaborated with on a couple of projects now,” says Mathew, Sound Mixer at Encore London. “Jay came to us for a final mix on the film after completing the tracklay and sound design. I had to do a little cleaning up on the dialogues which were generally very well recorded and then create a 5.1 soundscape with Jay’s sound FX and the great music tracks.”
Watch the trailer here:
Encore is delighted to unveil a compete upgrade of the Sound Department at their Soho facility.View Details
September 29, 2014
Encore is delighted to unveil a compete upgrade of the Sound Department at their Soho facility.
The substantial investment includes the upgrading of all Pro Tools systems in all 5 studios to HDX2 and the
latest Pro Tools 11 software along with a compete refurbishment of two rooms.
Substantial improvements were made to Studios 2 and 3, with the installation of new AKA furniture that houses the latest Avid S6 consoles supplied by Scrub. The desks create an impressive visual impact and are a stunning combination of walnut, leather and aluminum.
David Old, Head of Sound says:
“The combination of Pro Tools 11 and HDX 2 is like having a turbo-charged V12 engine under the bonnet which is little more than ticking over most of the time. That simple fact gives me complete creative freedom to mix in the box. The S6 then provides an elegant way to make it all happen”
The spaces have also undergone substantial structural alterations which take advantage of the small footprint of these amazing new surfaces together with the removal of racks of old outboard gear that is no longer required. The rooms were already fully floating and boasted excellent sound isolation so all alterations made were entirely internal. The studios now feel much more spacious and are immensely more capable than their previous incarnation.
Johnny Whitehead, Director of Operations says:
“We are really excited about the addition of the Avid S6 consoles as they effectively redefine the mixing desk. They are incredibly ergonomic and enable the mixer to work in a highly efficient and intelligent fashion which will ultimately help us deliver outstanding mixes”.
“All of the Encore Sound Studios are incredibly well built and have served us well but we wanted to take this opportunity to completely revamp Studios 2 and 3. The result is that these rooms have had a complete refit and are now more contemporary in style with extended client space and improved comfort”.
The investment comes just weeks after the announcement that Karl Mainzer, this year’s winner in the ‘Sound – Factual’ category at the BAFTA Television Craft joined Encore’s sound team in the capacity of Senior Sound Designer/Mixer and illustrates Encore’s ongoing commitment to remaining a leading facility in a creative space.
Projects worked on at the facility span all genres of television programming with recent highlights that include Tiger Aspect’s Ripper Street (mixed by Encore’s David Old for Amazon), Lionsgate’s first scripted drama, The Royals (mixed by Encore’s Mat Knights for E! in the US), The BBC’s Inside Number 9 (mixed by Encore’s Adam Davidson for BBC Two) and Tiger Aspect’s Fortitude for Sky (mixed by Howard Bargroff, a long term collaborator and associate mixer at Encore).
David Bowie – Five years nominated at the 2014 Grierson Awards – mixed by Encore’s Karl MainzerView Details
September 26, 2014
David Bowie – Five years nominated at the 2014 Grierson Awards – mixed by Encore’s Karl Mainzer
The recent unveiling of this year’s nominations for the Grierson Awards saw BBC Two’s David Bowie – Five Years
named as a contender for Best Arts Documentary, which is awarded to a single documentary, or an episode from a
strand or series, on an arts subject.
Francis Whately’s David Bowie – Five Years, for which Karl was awarded a BAFTA in the category of Sound – Factual at this year’s Craft Awards first aired on BBC Two in May 2013. It is an intimate documentary with a wealth of ‘never seen before’ footage covering what is considered to be the five most important years in David Bowie’s musical career.
The Grierson Awards itself was established back in 1972 and rewards both domestic and International documentaries that have made a significant contribution to the genre in which they have been nominated. This year’s awards will take place at the Queen Elizabeth Hall at London’s Southbank Centre on Monday, 3 November and will honour documentaries in categories that include Arts, History, Science and Contemporary Theme, as well as first time and student filmmakers.
Encore London and Rushes team up to provide picture post production services for BBC Two’s MarvellousView Details
September 25, 2014
Encore London and Rushes team up to provide picture post production services for BBC Two’s Marvellous
BBC Two’s 90-minute drama Marvellous premieres this Thursday 25th September at 9pm.
Described as ‘part biopic, part musical and part fantasy’ Marvellous stars Toby Jones as Neil Baldwin, an unassuming man who defies expectations. Having been labeled at an early age as suffering from ‘learning difficulties’ he went on to lead a colourful life that included stints as a circus clown, a lay preacher and the kit man at Stoke City. Most recently became the recipient of an honorary degree at Keele University.
Simon Brook at Encore London was the Online Editor for Marvellous, which was graded at sister facility Rushes by Simone Grattarola.
A Fifty Fathoms and Tiger Aspect co-production, Marvellous is a heartwarming and funny true story. Written by Peter Bowker (From There To Here) and directed by Julian Farino (Occupation), Katie Swinden (Luther) produces.
The popular Mount Pleasant series returns to Sky Living HD this Tuesday 16th September for a fourth series.View Details
September 18, 2014
The popular Mount Pleasant series returns to Sky Living HD this Tuesday 16th September for a fourth series.
Starring Sally Lindsay and Daniel Ryan as Lisa and Dan Johnson, episode one opens with the pair awaiting the
birth of their first baby, an event which is somewhat marred by the unexpected arrival of Dan’s wayward younger
Familiar faces Bradley (Nigel Harman), Greg (Adrian Bower), Tanya (Samantha Womack), Ella (Nicola Millbank) and Fergus (Neil Fitzmaurice) are joined by Daniel Ings (Psychoville) who plays Robbie and Naomi Bentley (Primeval) who stars as Angie, Fergus and Lisa's new PA.
Encore London is delighted to have provided picture post production services for this fourth series with the creative team comprising Paul Staples (colourist) and Rob Cooper (Online and VFX Editor) with Max Caswell project managing.
Rob Cooper, Online and VFX Editor says:
“This is the third series I have on-lined and Paul's second as colourist. For this series, Serena, the producer, wanted to give the overall style a bit of a makeover. This years title sequence and bumpers had been given a sleek and stylish look, which I then complemented with the text elements in the show itself”.
“The main challenges in the online were to keep an eye out for any items with obvious brand names, phones with phone numbers or dates on screen which needed either removing or replacing. In one scene there were labels in the bar on show and two of the bar pumps had very large and obvious branding on them which needed replacing. This involved a lot of tracking, rotoscoping and replacing shadows and matching lighting. I also had to rebuild the front of two phones which had had large pieces of gaffer tape over the screen to cover the brand name”.
Written by Mark Brotherhood, together with Amy Roberts and Loren McLaughlan, Tiger Aspect’s Mount Pleasant is produced by Serena Cullen and directed by Ian Barnes and Dermot Boyd.
Sophie Clarke-Jervoise executive produces for Tiger Aspect Productions and Jon Mountague for Sky.
Mount Pleasant premieres on Sky Living HD Tuesday 16th September at 9pm and will be shown as 8 weekly episodes.
Encore provide Picture Post Production Services for ‘The Suspicions of Mr Whicher’ – Beyond The Pale and The Ties That BindView Details
September 09, 2014
Encore provide Picture Post Production Services for ‘The Suspicions of Mr Whicher’ – Beyond The Pale and The Ties That Bind
‘The Suspicions of Mr Whicher’ returns to ITV this autumn with two new stories – Beyond the Pale and The Ties
Set in Victorian England, Paddy Considine reprises his role as Mr Whicher, a character based on the real life Scotland Yard Detective Jonathan ‘Jack’ Whicher.
Returning not as an Inspector with the Metropolitan Police but as a Private Investigator, following a personal breakdown and his subsequent departure from the force, Whicher embarks on two new investigations – a high stakes case involving the former home secretary and one of infidelity and divorce.
Encore London are delighted to have again provided picture post production services for this popular series with the creative team comprising Jet Omoshebi who graded ‘Beyond the Pale’ and Paul Staples who graded ‘The Ties That Bind’. Adam Eddy was the Online Editor for both films, with Alice Greenland project managing throughout.
Award-winning playwright Helen Edmundson penned both feature length episodes of the series with David Blair (Accused) and Geoffrey Sax (Tipping the Velvet) directing.
A Hat Trick production for ITV, Beyond The Pale premieres Sunday 7th September at 9:00pm. The Ties That Bind will air in the same slot on ITV Sunday 14th September.
ITV’s thrilling new four-part crime drama, Chasing Shadows, centres around a team in the missing person’s bureau whose purpose is to track serial killers preying on the weak and vunerable.View Details
September 03, 2014
ITV’s thrilling new four-part crime drama, Chasing Shadows, centres around a team in the missing person’s bureau whose purpose is to track serial killers preying on the weak and vunerable.
Starring Reece Shearsmith as DS Sean Stone, recently sidelined into the department after an inappropriate suggestion
at a press conference, Alex Kingston stars as his partner, analyst Ruth Hattersley, with Noel Clarke assuming
the role of DI Prior.
Senior Post Producer for Encore London Alice Greenland supervised the project throughout the process. As the first DPP file based delivery for both Encore and ITV, Chasing Shadows was always going to be an interesting and demanding project as she explains:
“Chasing Shadows was an exciting challenge from a deliverables point of view, allowing us to test the workflows and capabilities of master file delivery. The most important aspect of the process proved to be making sure client sign off was absolute at online stage. It was essential to ensure that once the DPP file was run no editorial updates were needed, as this would involve a full re-run of the master file (unlike a tape delivery where fiddling can sometimes happen right up until the day of broadcast!). We created a detailed sign off form for all the key players involved - producer, PPS, online editor and mixer – which proved invaluable.”
The Encore creative team consisted of Jet Omoshebi (Colourist), Nick Timms (Online Editor and VFX), David Old (Sound Mixer) and Darren Jennings (ADR) with Colin Chapman and Simon Gershon onboard as freelance Sound Designers.
With sound playing a pivotal role in the storytelling, David Old, Head of Sound at Encore London elaborates on the department’s work:
“Each story is told over two one-hour episodes, with the first taking us to a variety of locations where Production Sound Mixer Glen Marullo captured beautifully clean original sound, ably edited by Dialogue Editor Colin Chapman. The soundscape was painstakingly built up by Sound Designer Simon Gershon and much of the fun of mixing the show was in creating the acoustics and character of the different situations that the story took us to. With a stunning soundtrack supplied by composer Samuel Sim, I undertook the re-recording in Encore Post Sound Studio 2 on a Pro Tools HDX2 whilst ADR was recorded in Encore Post Sound Studios 1 and 4 by Darren Jennings.”
Chasing Shadows is written and created by Rob Williams (Holby City) and directed by Chris Menaul (The Suspicions of Mr Whicher) and Jim O’Hanlon (In The Flesh). Produced by the ITV Studios drama team, Francis Hopkinson (Lucan) executive produced with Rob Bullock (Legacy) producing.
The series premieres on Thursday 4th September at 9:00pm and will be shown across four consecutive weeks on ITV.
Still the Enemy Within, the crowd-funded feature length documentary from Bad Bonobo Films has scooped the prestigious audience award at this year’s International Sheffield Documentary Festival.View Details
September 02, 2014
Still the Enemy Within, the crowd-funded feature length documentary from Bad Bonobo Films has scooped the prestigious audience award at this year’s International Sheffield Documentary Festival.
Providing a unique insight into the dramatic events that unfolded during the 1984-85 British miner’s strike,
Still the Enemy Within tells the story of the miners and their supporters who were on the frontline of the strike
during that tumultuous year and features interviews and a wealth of rare and never before seen archive footage.
Mixed by Encore London's Mathew Knights, the project was pre-mixed in studio 2 and final mixed in studio 1. Post Producer Robyn Cannon managed the project on Encore's behalf.
Directed by Owen Gower, with Sinead Kirwan and Mark Lacey producing on behalf of Bonobo Films, Still the Enemy Within played to sold-out rooms throughout its festival run, enjoyed a special showing at the Durham Miner’s Gala and has a full cinematic release scheduled for this Autumn.
Many congratulations to all involved on this innovative documentary!
Guidon’s appointment marks the first step in Encore London’s expansion to include in-house VFX capabilitiesView Details
August 12, 2014
Guidon’s appointment marks the first step in Encore London’s expansion to include in-house VFX capabilities
Encore is delighted to welcome Meg Guidon to the London team as Executive Producer of VFX. Guidon will head
up Encore’s newly established VFX department at the Wardour Street Facility, reporting to Tom Kendall, SVP of
VFX for Encore worldwide. In addition to handling VFX bidding/pitch document creation, Guidon will oversee VFX
projects in-house and serve as the local contact for all Encore facilities.
“As we grow our global footprint, we want to ensure that clients have access to a high level of service and talent anywhere in the world. Having the right people in place is key to achieving this synergy and we are thrilled to have Meg on board in London,” said Encore Executive Vice President Bill Romeo.
“Meg’s wealth of expertise across genres is matched only by her unrelenting commitment and positive attitude,” added Kendall. “She has deep connections within the VFX community, knows how to assemble expert teams tailored to each project and will undoubtedly be instrumental in guiding our London-based VFX operations.”
Guidon’s appointment marks the first step in Encore London’s expansion to include in-house VFX capabilities, a natural progression for the facility given Encore’s rising reputation for creating some of the most respected CG work in television today. Already a leading provider of picture and sound post-production services, Encore London has built an international portfolio of recent work that includes “24: Live Another Day” and “Da Vinci’s Demons.”
Beginning her career as a producer at Rushes, Deluxe’s award winning international commercial VFX and grading house, Guidon commands more than twenty years of experience in the industry. Her previous facility experience includes Mill Film, Cinesite and Passion Pictures working on productions such as the Academy Award-winning film “Gladiator” and independent features including “The Invisible Woman” directed by Ralph Fiennes.
Johnny Whitehead, director of operations at Encore London said, “Meg has an enormous amount of experience in the world of VFX and will spearhead our expansion into VFX at the Soho facility. Adding VFX capabilities is an exciting step forward in our quest to offer clients the very best possible service across all areas of post-production, under one roof. Being able to offer a full VFX package alongside our award winning grading, editing and sound services is a natural progression for Encore, and clients will benefit from a high degree of creative collaboration across these departments.”
Noted Guidon, “Encore is trusted by some of the most prestigious studios to handle everything from dailies through to delivery. Here in the UK, we may presently seem to be a small team, but we have the mighty support of Encore Hollywood’s Emmy-winning VFX department behind us. We can share projects, software tools and even on-set supervision talent to approach jobs of any scale and maximize tax incentives on international productions shooting here in the UK.”
Encore London are thrilled to have provided picture and sound post production services for this pilot episodeView Details
August 11, 2014
Encore London are thrilled to have provided picture and sound post production services for this pilot episode
Adrian Dunbar stars as DI Walter Gambon in BBC One’s one-off comedy drama pilot Walter.
A modern police drama with a twist of nostalgia, Walter boasts a strong supporting cast that includes Alexandra Roach (Utopia) who stars as DC Hopkins, Gambon’s young and enthusiastic sidekick.
With the threat of bankruptcy weighing heavily on his shoulders and a precocious teenage daughter keeping him on his toes, his personal life is as complicated as his professional one where the appointment of a new young Chief Superintendent and the dramatic death of a former colleague coincide.
Encore London are thrilled to have provided picture and sound post production services for this pilot episode with the creative team comprising Paul Staples (Colourist), Simon Brook (Online Editor and VFX), Mathew Knights (Re-recording Mixer), Chris Roberts (Supervising Sound Editor) and Joe Fletcher and Sam Baker (Sound Editors). Max Caswell, Senior Post Producer at Encore London supervised the project throughout the process.
Whilst Walter is set in an undefined time period, the production design quite clearly references the 1970’s and 80’s shows which was reflected in the grade. Using the Digital Vision Nucoda allowed him to bring a softness to the high and low lights emoting the mood and feel of old US cop shows from that era.
Online and VFX Editor Simon Brook had some fun with green screens with tasks that included simulating an actor falling on the track in front of a tube train. He was also required to replace the head of a stunt motorcyclist for continuity’s sake, enhance make-up effects such as the cracking of an actress’ facemask and add animated audio waveforms to a computer screen.
Walter was mixed in Sound Studio 1 at Encore London and the team were tasked with supporting the humorous aspect of the show without compromising the naturalistic feel that the drama of a police investigation requires. The provision of good production dialogue tracks meant that there was a relatively small amount of ADR recorded and this allowed the original performances from the great cast to sit easily in the mix.
Walter premieres on BBC One at 9:00pm on Friday August 8th.
Encore Sound is delighted to welcome Karl Mainzer to the London team.View Details
June 30, 2014
Encore Sound is delighted to welcome Karl Mainzer to the London team.
Karl, winner in the ‘Sound – Factual’ category at this year’s BAFTA Television Craft Awards for his work on
‘David Bowie – Five Years’ will start with Encore on 7th July in the capacity of Senior Sound Designer/Mixer.
A graduate of the School of Audio Engineering in 1995, Karl started out as an Assistant Dubbing Mixer, working his way up the ranks to the position of Senior Dubbing Mixer by 2001. He subsequently helped create boutique audio post facility ‘The Sound Monsters’ before opening two audio post facilities of his own, ‘Noise London’ in 2004 and ‘United Audio Project’ in 2008.
Karl has a wealth of experience both within the specialist factual community and across the drama documentary and feature markets. His portfolio of work includes the BBC’s BAFTA award-winning documentary series ‘Our War’, Dragonfly Productions’ BAFTA nominated and Bulldog Award winning documentary ‘The Plane Crash’ (for which Karl himself was also BAFTA nominated), BBC Three’s RTS award-winning drama ‘My Murder’ and ‘Leave to Remain’, the provocative feature film debut from BAFTA winning Bruce Goodison.
Johnny Whitehead, Director of Operations at Encore London says:
“I am delighted to announce that Karl Mainzer is joining the Sound team here at Encore. We have worked with Karl on many occasions in the past and have always admired his talent, creativity and ability to consistently deliver mixes of exceptional quality. He has a well-established client base with an impressive list of credits that include Nutopia’s ‘The Hunt For Bin Laden’ and the BBC’s ‘My Murder’, both of which were mixed here at Encore.”
“This is a really exciting development for Encore and forms part of our on-going strategy to provide the top talent and the best possible service to all clients, for all productions. Karl’s recent BAFTA for 'Five Years' highlights how highly regarded he is as a mixer and we look forward to his arrival”.
A leading provider of both picture and sound post-production services, Encore has seven sound studios equipped with the latest Pro Tools hardware with sound services spanning mixing, editing, ADR, V/O, re-versioning and laybacks.
Karl’s appointment complements the existing team of award winning mixers that include David Old, Mathew Knights and Adam Davidson, ADR recordist Darren Jennings and sound editors Chris Roberts and Joe Fletcher. Collectively their recent credits include ‘In The Flesh 2’, ‘My Mad Fat Diary’, ‘Luther’, ‘The Sound and The Fury’ and ‘Shut Up And Play The Hits’.
Of his recent appointment Karl says:
“Client experience is my number one priority. Being part of Encore’s renowned creative team with the support from in-house supervising sound editors and producers means I can get on with what I do best – mix and deliver the quality service my clients have come to expect. Furthermore, Encore’s sound studios are amongst the most impressive sonic spaces in the UK – I have produced mixes there before, and my clients were overwhelmed by the dynamism and power I achieved”.
He adds: “I’m excited about building a strong rapport with Harriet Dale, Encore’s Head of Production and her team of producers. Harriet has steered a handful of projects I’ve mixed at Encore. My clients commented on her personal touch and her ability to simplify workflow”.
“What’s really important for my clients, now that I’m part of full service post facility, is the ability to offer sound and picture post under one roof, and know they’re grading with the best colourists in town”. “I rate Encore’s grading team enormously – their list of credits is unsurpassed and I’m tremendously excited about connecting Encore’s picture team with my clients and sparking new creative relationships”.
Encore London provided picture and sound post-production service for this harrowing true storyView Details
June 23, 2014
Encore London provided picture and sound post-production service for this harrowing true story
‘Murdered By My Boyfriend’ is the dramatisation of a true story about a teenage girl who falls in love with
a seemingly charming and handsome young man but whose own insecurities and jealously see his behavior escalate
from enquiring and possessive to intensely violent as their relationship deepens.
Based on true events, with identities changed at the request of the victim’s family, ‘Murdered By My Boyfriend’ chronicles the heartbreaking tale of a young girl unable to escape the years of physical and emotional abuse at the hands of her partner. With one in four women in the UK estimated to have experienced domestic abuse and an average of two women a week dying at the hands of their partners in Britain, this story is an un-nerving reflection of what is happening behind closed doors in today’s society.
Encore London provided picture and sound post-production service for this harrowing true story with the creative team comprising Paul Staples (colourist), Adam Eddy (Online Editor and VFX) and Srdjan Kurpelc (Sound Designer and Mixer). Alice Greenland, Senior Post Producer at Encore London supervised the project throughout the process.
The film was shot on Arri Alexa with anamorphic, low contrast lenses. Colourist Paul Staples created a grade that he describes as “a look of beauty that was in stark contrast to the subject matter. In the final scenes of the programme, the dying of the light mirrors the final loss of hope”.
In a particularly violent scene where there was a little too much bruising to maintain continuity Online and VFX Editor Adam Eddy used NUKE to track the difficult facial surface and replace texture as needed. Numerous other fixes such as crew removal were cleaned up with Mocha and After Effects. All work from online to graphics and title cards was completed on the Avid DS.
Written by Regina Moriaty, winner of the Screenwriting Award at the 2013 Arts Foundation Awards ‘Murdered By My Boyfriend’ is directed by Paul Andrew Williams (Song For Marion) and produced by Pier Wilkie for Steelmill Pictures.
‘Murdered By My Boyfriend’ stars Georgina Campbell and Royce Pierrson and will be shown on BBC Three on Monday 23rd June at 9pm.
Mixed At Encore Sound in London and Restored By Deluxe part of the Digital Cinema business.View Details
June 06, 2014
Mixed At Encore Sound in London and Restored By Deluxe part of the Digital Cinema business.
The 59th Ivor Novello Awards took place on Thursday 22nd May at Grosvenor House in London. Affectionately known
as ‘The Ivors’, the awards celebrate and reward excellence in British music songwriting and composing.
The Ivor for ‘Best Original Film Score’ was awarded to Simon Fisher Turner for the mesmerizing score he created for the BFI’s restoration of ‘The Epic of Everest’, which was mixed by Mathew Knights in Encore’s Dolby licensed studio 1 in London.
‘The Epic of Everest’ is an extraordinary record of the legendary attempt to conquer Everest by two of the most revered climbers of their time – George Mallory and Andrew Irvine. Captain John Noel’s 1924 film is a documentary of notable historic importance with scenes that include some of the very earliest recorded images of the Tibetan people and their culture. Simon’s award winning score cleverly blends electronic music and found sounds together with both western and Nepalese instruments and vocals.
Mathew Knights, Senior Re-recording Mixer at Encore London elaborates on his work for this prestigious project:
“It was a great privilege to work on this historic footage which quite remarkably was all shot on a hand cranked 16mm camera. My main role was to remix Simon’s stereo elements into a 5.1 sound track with the use of panning, reverbs and sub bass. The overall effect of the created soundscape is, at times, haunting but leaves you with a feeling of the great majesty of Everest”.
‘The Epic of Everest’ was restored by Deluxe in partnership with the BFI. The film had to be completely reconstructed using a combination of available elements that were brittle and suffered from continuous physical scratching in addition to high levels of dirt and deterioration caused by mould and the breakdown of image toning.
The film elements were physically inspected, selected, repaired and cleaned at the BFI ‘s conservation centre who also undertook the digital restoration, film-out and printing of the inter-titles and scanned the nitrate prints in 4K. The subsequent digital intermediate restoration was carried out by the restoration team at Deluxe, this included image repair, grading and colour restoration and the production of all deliverables.
Our congratulations to Simon for a well deserved win. ‘The Epic of Everest’ is now available to by on DVD/Blu-Ray via the BFI:
Encore London is delighted to have provided picture post-production services for this flagship drama.View Details
May 22, 2014
Encore London is delighted to have provided picture post-production services for this flagship drama.
‘From There To Here’, the latest drama from Kudos Film and Television, premieres on BBC ONE May 22nd at 9pm.
Encore London is delighted to have provided picture post-production services for this flagship drama with Max
Caswell, Senior Post Producer at Encore London supervising the project throughout the process.
The story unfolds on June 15th 1996 with the bombing of the Arndale Centre in Manchester, and tells the comic yet moving tale of two very different families and how they were affected during the aftermath of the blast.
The story spans a four-year period from 1996 to the year 2000 and is set against a backdrop of events that shaped not only Manchester, but the country as a whole - the Euro 96 football tournament, New Labour coming to power and the turn of the Millennium.
Starring Philip Glenister (Life On Mars) and Bernard Hill (Lord Of The Rings) as Daniel and Samuel Cotton, the supporting cast includes Steven Mackintosh (Inside Men), Saskia Reeves (Luther), Liz White (The Woman In Black), Daniel Rigby (Big Eric And Ernie) and Morven Christie (Hunted).
‘From There To Here’ was shot on the Arri Alexa and graded by Encore London’s Paul Staples on the Digital Vision Nucoda. The brief was to create ‘a love letter to Manchester’ and so, where possible, the focus was to accentuate all that was beautiful about the city, avoiding too much of the grittiness that is so often used to define the area.
Paul was thrilled to be involved in the project as he explains:
“As a fan of the Manchester music scene, I was extremely excited to be involved with the grading of ‘From There To Here’, an outstanding soundtrack most definitely adds to both the originality and humour of the piece”.
Adam Eddy, Online Editor and VFX, faced challenges that included compositing in numerous television screens of archive football matches from the 1990's and earlier. Whilst some were relatively straightforward others had a lot of motion and foreground action to contend with. He also had to brighten up numerous scenes/shots with sky replacements to help with continuity - some of which were extremely challenging due the 3D camera movement. He utilised a number of tools, such as Mocha, After Effects and NUKE to achieve the desired results and put everything together on the Avid DS.
‘From There To Here’ was mixed by Re-recording Mixer Howard Bargroff in Studio 3 at Encore Sound in London.
Written by Peter Bowker and directed by James Strong, ‘From There To Here’ is a 3x60-minute mini-series produced by Tim Bricknell and executive produced by both Derek Wax and Peter Bowker for Kudos Film & Television and by Stephen Wright, Head of Drama BBC Northern Ireland.
The series premieres on Thursday 22nd May 2014 and will be shown as three weekly episodes.
The BAFTA Television Awards celebrate the very best of television that has broadcast on British screens in the last year with awards spanning 26 categories.View Details
May 20, 2014
The BAFTA Television Awards celebrate the very best of television that has broadcast on British screens in the last year with awards spanning 26 categories.
The BAFTA Television Awards celebrate the very best of television that has broadcast on British screens in the
last year with awards spanning 26 categories.
Held at London’s Theatre Royal on the evening of Sunday 18th May, this year’s awards were again hosted by Graham Norton and we were thrilled to see so many Encore posted projects nominated with ‘Broadchurch', ‘Southcliffe' and 'In The Flesh' going on to win in their respective categories.
Once again ‘Broadchurch' was the big winner of the evening, scooping a hat trick of awards that included Best Drama Series, Best Actress (Olivia Colman) and Best Supporting Actor (David Bradley).
‘Broadchurch', which was first broadcast as 8 x 60 min episodes in March of 2013, charts the change within a small community in Dorset that suddenly finds itself in the media spotlight following the mysterious death of a young boy.
Encore London were delighted to have had the opportunity to work on the production, having provided full picture post production services.
Produced by Kudos Film and Television for ITV1, ‘Broadchurch’ was written and created by Chris Chibnall. Directing duties were shared between James Strong and Euros Lyn. The series was produced by Richard Stokes with Jane Featherstone and Chris Chibnall sharing exec producer credits.
Sean Harris won Best Actor for his role as Stephen Morton in Channel 4's 'Southcliffe', a harrowing drama set in a typical English market town that is devastated by the actions of a loner ex-soldier who embarks on a killing spree after being persecuted by local community.
Encore London provided picture post-production services for this powerful four part drama which was first shown in August 2013.
Produced by Warp Films for Channel 4. ‘Southcliffe' was written by Tony Grisoni and directed by Sean Durkin with Peter Carlton and Derrin Schlesinger producing for Warp Films and Sophie Gardiner for Channel 4.
Our congratulations also go to the 'In The Flesh' production team who collected the award for Best Mini Series. Series 2 of the popular and critically acclaimed zombie drama is currently showing on BBC Three in the UK and BBC America in the US with Encore London having provided both picture and sound post services.
The popular ‘Playhouse Presents’ series returned to the Sky Arts 1 HD channel on May 1st.View Details
May 09, 2014
The popular ‘Playhouse Presents’ series returned to the Sky Arts 1 HD channel on May 1st.
Encore London is thrilled to have provided picture and audio post-production services for two of the eight episodes
- ‘The Dog Thrower’ and ‘Space Age’ with Harriet Dale, Head of Production at Encore London, supervising both projects
throughout the process.
‘Playhouse Presents’ is a season of thirty-minute comedy and drama one-offs show-casing some of the very best global talent both on and off screen.
This season opened on May 1st with ‘The Dog Thrower’, starring Matthew Perry in what is his UK television debut. Together with comedian Tim Key and ‘Fresh Meat’s’ Kimberley Nixon, the trio come together in a tale that follows a shy and nervous man whose life is transformed when he starts to mimic the ‘art’ of dog throwing with his own pet dog ‘Floppy’.
Adam Davidson, Sound Designer and Mixer at Encore was brought onboard in the early stages of production - he liaised with Director Jon Ronson via Skype as to how best sound could be used creatively in a project that was to contain very little or no dialogue. With a soundtrack produced by Scottish indie stars ‘Belle and Sebastian’, music together with sound effects are cleverly interspersed to effectively tell the story. To quote Adam – “It’s a film that doesn’t conform to any of the classic television conventions, and is all the better for it”.
In terms of the grade, which was completed by Will Coker, the Director didn't want to detract too much from the action. Given that there is very little dialogue it was decided to adopt a lower contrast and slightly softer, less saturated, pallet to let the story tell itself. The main challenge of the grade was matching all the outdoor scenes, which were shot over several days in a park with very variable light.
‘Space Age’ which is scheduled to air on June 5th sees Ralf Little and Nick Moran team up as the screenwriters of a drama set in the future starring Richard Wilson and Simon Callow as a pair of ageing astronauts embarking on one final and perilous journey to a distant planet.
Colourist Paul Staples graded the film on the Digital Vision Nucoda, allowing him to bring a very cinematic look to the images. As a fan of the ‘Alien’ films he was very excited to have the opportunity to grade this project which boasts H.R Giger inspired sets that had been lit by DoP Rob Kitzmann in a beautiful, low key and ominous way that gave a very true sense of the characters travelling through space. It also offered the opportunity to explore new ground from a technical point of view as the project was shot on the new Sony F65.
Senior Re-recording Mixer Mathew Knights also found his work on ‘Space Age’ to be immensely satisfying. Having previously worked with the writers Nick Moran and Ralf Little on a number of separate projects, he was delighted to be able to work on a film they had written together and completed all of the sound post work, from track laying through to sound design and final mixing.
Whilst the Playhouse series had a very tight fixed budget, both the Production Team and the Director wanted to stretch that as far as they could and try to get a big budget feature feel to the show.
Mat created a soundscape for the spaceship and all of its different rooms. The brief was to make it sound big and empty in certain areas and busy with computers in others; given that the ship itself is very old, the overall feel needed to be dated.
As a huge fan of sci-fi, Mat describes the experience as being “like a kid in a sweetshop” as he had the opportunity to create the whole sound scape from scratch, this included old sounding computer beeps and whirls, life support machines, alarms, engine noises, explosions, creaks and groans, speeding things up, slowing them down, playing them backwards and generally manipulating sound by whatever means possible.
‘The Dog Thrower’ was first shown on Sky Arts 1 HD on Thursday May 1st and is now available to view via Sky On Demand. ‘The Dog Thrower’ is written and directed by Jon Ronson and produced by Runaway Fridge.
‘Space Age’ premieres on Sky Arts 1 on Thursday 5th June at 9pm, written by Nick Moran and Ralph Little, it is directed by Lawrence Gough and is a co-production between Hillbilly Television, Different Pictures and Fremantle Media UK.
The second season of BBC Three’s zombie drama ‘In The Flesh’ premiered on Sunday May 4th with picture and audio post-production services provided by Encore London.View Details
May 05, 2014
The second season of BBC Three’s zombie drama ‘In The Flesh’ premiered on Sunday May 4th with picture and audio post-production services provided by Encore London.
The creation of critically acclaimed writer Dominic Mitchell, the six episode long second series of ‘In The
Flesh’ returns to the fictional small town of Roarton in the north west of England some ten months after the events
of season one. Both the living and the un-dead appear to have finally found peace but PDS (Partially Deceased
Syndrome) sufferer Kieren Walker continues to struggle with his identity in this new world.
Luke Newberry reprises his role as Kieran Walker with a supporting cast that includes Emily Bevan, Harriet Cains and Stephen Thompson, from series one as well as newcomers, Wunmi Mosaku (‘I am Slave’) who stars as local MP Maxine Martin and Emmett J Scanlan (‘The Fall’) who plays a charismatic disciple of The Undead Prophet, Simon.
Encore London are thrilled to have provided picture and sound post production service for this series with the creative team comprising Jet Omoshebi (colourist), Simon Brook (Online Editor and VFX), Chris Roberts and Joe Fletcher (Sound Editors) and David Old (Dubbing Mixer). Harriet Dale, Head of Production at Encore London supervised the project throughout the process.
Although the show was primarily shot 16:9 on the ARRI Alexa, pro-res 4:4:4, the final output for BBC Three is 2:40 which lends itself perfectly to the bleak atmosphere of Roarton, the ‘Village of the Damned’, where the second installment of the zombie drama is set. In keeping with the last series, Jet de-saturated the images, paying close attention to the skin tones of the living and partially deceased. Nucoder's tracking software was put through its paces as nearly all the skin tones were individually treated to reflect the various stages of undead.
The sound team were charged with creating a soundtrack that complemented the very cinematic look and feel of the series without losing the sense of place and scale portrayed by the small fictional village.
The brief was to create a lifeless, uneasy setting for the story that didn't necessarily follow the established sound cues of the zombie genre. This was achieved by crafting a soundscape that was often bleak, but punctuated by moments of hyper-realism in the sound design.
Encore's Supervising Sound Editor Chris Roberts handled the dialogue and ADR duties. "Good production sound makes my job all the more enjoyable, and Nick Steer's location sound meant that any ADR we had to do was kept to minimum." said Chris. "When ADR was required, the first class recordings made by Encore in London and Sumners in Manchester dropped into the mixes with very little help."
Sound effects and design elements were provided by Encore's Joe Fletcher. Joe went to great lengths to capture and create the right sounds for the series, embarking on a trip to his home county of Suffolk to make original recordings of rural atmospheres. To create the sound of a zombie (or "rabid" as they are called in the series) on the wrong end of a Black and Decker drill, Joe reached for his toolbox after a trip to the local butchers and switched on his recorder!
” ‘In The Flesh' was a great series to be involved with, " said Joe. " There was a lot to sink my teeth into on my own, but I really enjoyed collaborating with my colleagues and all three directors in the mix sessions."
Encore's Head of Sound David Old had his fingers on the faders for all six episodes. "The challenge for me was to remove as much evidence of twenty-first century life from the location recordings as possible, to follow the bleakness of the brief” said David "Being presented with such good tracks from Chris and Joe, and wonderful score from Edmund Butt, meant that I was able to spend my time in the studio really concentrating on the creative balance and produce a really effective, dynamic mix."
Written and created by Dominic Mitchell who won a BAFTA for season one, the second series of ‘In The Flesh’ is a co-production between BBC Drama Production North and BBC America. ‘In the Flesh’ is directed by Jim O’Hanlon (‘Quirke’), Damon Thomas (‘Prisoner’s Wives’) and Alice Troughton (‘Merlin’), produced by John Rushton (‘Hunderby’) and executive produced by Hilary Martin (‘The Secret Of Crickley Hall’), Katie McAleese (‘Ripper Street’) and Ann Harrison Baxter (‘Waterloo Road’).
‘In The Flesh’ premieres on BBC Three on Sunday 4th May at 10pm and in BBC America on Saturday May 10th and will be shown as six hour long weekly episodes.
David S. Goyer’s Da Vinci's Demons returns to UK screens for a second series on 4th April.View Details
April 05, 2014
David S. Goyer’s Da Vinci's Demons returns to UK screens for a second series on 4th April.
David S. Goyer’s Da Vinci's Demons returns to UK screens for a second series on 4th April and Encore London
were once again engaged to complete the picture post production for this flagship historical fantasy drama set
in Renaissance Florence.
The dramatic series one finale saw Florence under siege and Leonardo Da Vinci in the midst of an environment fraught with danger, facing a very real threat to his own life. The second series of Da Vinci’s Demons is both darker and bloodier, with the series’ hero continuing his search for the fabled ‘Book of Leaves’ and quest to uncover the truth about his mother.
With an all-star British cast that includes Tom Riley (Lewis), Lara Pulver (Sherlock), Laura Haddock (Honest), Elliot Cowan (Luther) and Blake Ritson (World Without End), Series 2 of Da Vinci’s Demons is once again produced as part of the multi-year agreement between Starz and BBC Worldwide Productions. The post team at Encore is comprised of Jet Omoshebi (Colourist) and Nick Timms (Online Editor and additional VFX). Alice Greenland, Senior Post Producer at Encore London, supervised the project throughout the process.
David S. Goyer’s Da Vinci’s Demons premieres in the UK on Fox at 10pm on Friday 4th April and will be shown as 10 weekly episodes.
March’s issue of Televisual profiles the UK’s top 15 colourists and we were thrilled to see Encore’s talented Jet Omoshebi ranked second.View Details
April 05, 2014
March’s issue of Televisual profiles the UK’s top 15 colourists and we were thrilled to see Encore’s talented Jet Omoshebi ranked second.
March’s issue of Televisual profiles the UK’s top 15 colourists and we were thrilled to see Encore’s talented
Jet Omoshebi ranked second.
Jet, whose recent credits include Da Vinci’s Demons, Death in Paradise, The Whale, Fresh Meat, Luther and Line of Duty is credited with creating some of the most visually stunning and unique looking television programming in recent years.
Televisual’s annual poll singles out the colourists that have had the biggest creative impact over the last 12 months and is formed of votes cast by fellow colourists, producers and grading kit makers together with award nominations and wins from the RTS craft awards, the British Arrow Craft Awards and the UK Music and Video Awards.
Many congratulations Jet.
The Royal Television Society (RTS) Programme Awards celebrate the best of television that was broadcast on British screens in 2013.View Details
March 31, 2014
The Royal Television Society (RTS) Programme Awards celebrate the best of television that was broadcast on British screens in 2013.
The Royal Television Society (RTS) Programme Awards celebrate the best of television that was broadcast on British
screens in 2013. Encompassing both national and regional output with programming that includes the genres of drama,
documentary, light entertainment, children’s, history and the arts, the awards recognise the achievements of writers,
producers and production teams, actors, presenters and of course, the programmes themselves.
Held at the Grosvenor House Hotel in central London on the evening of Tuesday 18th March, this year’s awards were hosted by Comedian Tim Vine. We were thrilled to see Broadchurch win ‘Best Drama Serial’ with Olivia Coleman securing ‘Best Actor Female’ for her performance in the flagship ITV series, Idris Elba walking away with the award for ‘Best Actor Male’ for his role in the ever popular Luther and criminal drama Peaky Blinders awarded ‘Best Drama Series’.
Broadchurch, which was first broadcast as 8 x 60 min episodes in March of 2013, charts the change within a small community in Dorset that suddenly finds itself in the media spotlight following the mysterious death of a young boy. Encore were delighted to have had the opportunity to work on the production, having provided full picture post production services with the team comprising Paul Staples (Colourist) and Adam Eddy (VFX and Online Editor). Max Caswell, Senior Post Producer at Encore, supervised the project throughout the process.
Produced by Kudos Film and Television for ITV1, Broadchurch was written and created by Chris Chibnall. Directing duties were shared between James Strong and Euros Lyn. The series was produced by Richard Stokes with Jane Featherstone and Chris Chibnall sharing exec producer credits.
BBC One's Golden Globe winning psychological crime drama Luther was shown in July last year as 4 x 60 minute episodes and starred Idris Elba as Detective Chief Inspector John Luther who headed up an investigation into two very distinctive murders that individually unfolded over the four episodes. Encore provided full picture and audio post production services for the series with Jet Omoshebi grading, Nick Timms working as the VFX and Online Editor and Howard Bargroff/ Mathew Knights mixing. Harriet Dale, Head of Production at Encore, supervised on this occasion.
Luther was a BBC in-house drama production and BBC America co-production distributed by BBC Worldwide. Commissioned by Ben Stephenson, Controller, BBC Drama Commissioning and Danny Cohen, Controller, BBC One, Luther was written by Neil Cross and directed by Sam Miller and Farren Blackburn .The series was produced by Claire Bennett with Phillippa Giles exec producing.
Six-part gangster family epic Peaky Blinders premiered on BBC Two on the 12th September 2013, set in post-war Birmingham in 1919 the series tells the story of returning soldiers, newly-minted revolutionaries and criminal gangs all fighting for survival. Encore worked in collaboration with sister company Rushes to provide the online (Simon Brook) and grade (Simona Grattarola) respectively.
Peaky Blinders was written and created by Stephen Knight for BBC Two Drama. Directed by Otto Bathurst and Tom Harper, it was a Tiger Aspect and Caryn Mandabach co-production with Katie Swinden producing and Caryn Mandabach, Greg Brenman, Jamie Glazebrook and Frith Tiplady exec producing.
Our congratulations to all nominees and winners.
Discovery’s first-ever scripted mini series Klondike premieres in the UK on Thursday March 27th at 9pm.View Details
March 31, 2014
Discovery’s first-ever scripted mini series Klondike premieres in the UK on Thursday March 27th at 9pm.
Discovery’s first-ever scripted mini series Klondike premieres in the UK on Thursday March 27th at 9pm.
Klondike charts the perilous journey that is made by two life long friends, Bill Haskell and Byron Epstein, as they seek their fortunes in the gold rush capital of the wild and unpredictable Yukon territory, north-western Canada, during the late 1890’s.
Based on Charlotte Gray’s book Gold Diggers: Striking It Rich in the Klondike, the series stars Richard Madden (Game of Thrones) and Augustus Prew (Kick Ass 2) as Bill Haskell and Byron Epstein with a talented supporting cast that includes Tim Roth, Abbey Cornish and Sam Shepard.
Encore were delighted to provide full picture post production for the series having completed the grade, online edit (Rob Cooper), online vfx (Nick Timms) and conform (Andy Cave).
Directed by Simon Cellan Jones, Klondike is a Discovery, Entertainment One (eOne) and Nomadic Pictures co-production in association with Scott Free Productions. The series’ Executive Producers are Ridley Scott and David W.Zucker for Scott Free, John Morayniss and Michael Rosenbery for eOne, Eileen O’Neill and Dolores Gavin for Discovery and Writer Paul Scheuring (Prison Break).
Klondike premieres on Discovery UK at 9pm on Thursday 27th March, and will be shown as 5 weekly episodes.
ITV’s hit detective drama Broadchurch has triumped once more, securing 3 awards at the Broadcasting Press Guild Awards.View Details
March 31, 2014
ITV’s hit detective drama Broadchurch has triumped once more, securing 3 awards at the Broadcasting Press Guild Awards.
ITV’s hit detective drama Broadchurch has triumped once more, securing 3 awards at the Broadcasting Press Guild
In a ceremony held at the Theatre Royal Drury Lane on the afternoon of Friday 28th March, Broadchurch was named ‘Best Drama Series’ with Olivia Coleman picking up another ‘Best Actress’ award for her role as DS Ellie Miller and creator Chris Chibnall securing the writer prize.
Broadchurch, which first aired in spring of last year, has been a runaway success for ITV with a second series already commissioned, and a novel and US remake planned. Encore were delighted to have had the opportunity to work on the production, having provided full picture post production services with the team comprising Paul Staples (Colourist) and Adam Eddy (VFX and Online Editor). Max Caswell, Senior Post Producer at Encore, supervised the project throughout the process.
Produced by Kudos Film and Television for ITV1, Broadchurch was written and created by Chris Chibnall. Directing duties were shared between James Strong and Euros Lyn. The series was produced by Richard Stokes with Jane Featherstone and Chris Chibnall sharing exec producer credits.
Encore’s Sound Editorial Supervisor, Chris Roberts was thrilled to be awarded ‘Fellowship of the Association of Motion Picture Sound’ (AMPS) at their recent Annual General Meeting.View Details
March 27, 2014
Encore’s Sound Editorial Supervisor, Chris Roberts was thrilled to be awarded ‘Fellowship of the Association of Motion Picture Sound’ (AMPS) at their recent Annual General Meeting.
Encore’s Sound Editorial Supervisor, Chris Roberts was thrilled to be awarded ‘Fellowship of the Association
of Motion Picture Sound’ (AMPS) at their recent Annual General Meeting, held at the National Film and Television
School in Beaconsfield.
Chris, whose recent credits include Death in Paradise, The Whale and By Any Means was awarded the fellowship “in recognition of his achievements in the craft of sound, and in gratitude for his strong and enthusiastic contribution to the running of the association”.
AMPS, which celebrates its 25th anniversary this year, boasts a membership of over 400 of the most creative and skilled recording and sound-editing talent working in the British cinema and television industries. Established in 1989, the organisation is actively engaged in information sharing and problem solving in a rapidly evolving technological environment, hosting monthly technical meetings and manufacturer presentations and additionally establishing and implementing recommended craft standards and practice.
Many congratulations Chris.
Encore have just completed full picture and sound post production on the latest series of Death in Paradise.View Details
January 22, 2014
Encore have just completed full picture and sound post production on the latest series of Death in Paradise.
The grade for the BBC primetime show was carried out by Jet Omoshebi with Adam Eddy taking care of the online
Edit. David Old worked his mixing magic and Chris Roberts took the helm as Supervising Sound Editor - all under
the watchful eye of Encoreâ€™s Senior Post Producer, Max Caswell.
Now in its 3rd series, the Drama is about a detective who is assigned to investigate a murder on a paradise island. Filmed on the Caribbean island of Guadeloupe, Death In Paradise, has gone from strength to strength over the past two series, bringing in an average of almost eight million viewers each episode of the second series.
The 8 part series airs every week from 14th January 2014 on BBC One.
One of the greatest stories of survival at sea will be shown on BBC One this Christmas.View Details
December 20, 2013
One of the greatest stories of survival at sea will be shown on BBC One this Christmas.
One of the greatest stories of survival at sea will be shown on BBC One this Christmas. The Whale recalls the
ill-fated voyage of the whaling ship The Essex as seen through the eyes of teenage cabin boy Thomas Nickerson,
the youngest of just eight survivors of the shipwreck who spent three long months at sea before being rescued.
Martin Sheen leads the cast starring as the elder Tom Nickerson. Jonas Armstrong (Robin Hood, The Street) appears as First Mate Owen Chase and newcomer Charles Furness plays the part of the young Tom Nickerson. A talented supporting cast includes Adam Rayner (The Hunted) as Captain Pollard; Paul Kaye (Game of Thrones, Stella) as Joy; David Gyasi (Cloud Atlas, War Horse) as Peterson and Jolyon Coy (The Hollow Crown) as Lawrence.
Encore were delighted to have the opportunity to provide complete picture and audio post production services for this breath-taking BBC drama with the team comprising Jet Omoshebi (Colourist), Nick Timms (VFX and Online Editor), David Old (Dubbing Mixer), Chris Roberts (Supervising Sound Editor) and Joe Fletcher, Jay Price and Phil Freudenfeld (Sound Editors). Harriet Dale, Head of Production at Encore, supervised the project throughout the process.
From the optimism and light of a new journey to the dark desperation of being shipwrecked and alone at sea, Jet Omoshebi’s grade very much mirrors the journey as it is seen through the eyes of Thomas Nickerson. A bright, hopeful and colourful ‘Technicolor’ inspired look is slowly graded out to a more sombre but equally beautiful bleach bypass effect. By the end of the film the only colour left is the blue of the cruel sea.
Working on the Avid DS and using After Effects and Mocha, Online Editor Nick Timms worked closely with the Producers and Director to enhance scenes with atmospheric elements such as sea and sky replacements. As a large proportion of the feature was shot on water there were a number of complex water/ship compositions that were required in addition to a considerable amount of work that was undertaken to remove wires, people, microphones and a other on set baggage that should have not be visible within any given shot or scene.
On the sound side Encore were very much a part of the creative process from the outset and a strong relationship with both the Producers and the Director meant that the team helped mould their vision from day one.
Authenticity was key to creating a successful soundtrack and the team worked hard to achieve this. Assistant sound editors Joe Fletcher and Jay Price went to great lengths to capture the raw sound of the sea – not only setting sail on a yacht but also undertaking some of the manoeuvres The Essex itself would have performed at sea. Recreating the sound of a whale was however a more creative process as Joe explains: “I put a bin bag inside a BBQ and filled it with water, and then I put a hydrophone in the water and rubbed the BBQ with rubber band balls.” Meanwhile Supervising Sound Editor Chris Roberts gathered native Nantucket voices for crowd ADR, explaining: “Background voices make the ship come alive, we wanted authentic Nantucket voices and whaling terminology of this period to come through the background.”
David Old, Head of Sound at Encore, provided his award winning skills to create the mix and had the pleasure of recording the legendary Martin Sheen who, as well as being a consummate professional, also showcased a pretty exceptional repertoire of jokes!
Made by BBC History with Animal Planet, The Whale is written by Terry Cafolla (Messiah), directed by Alrick Riley (Death In Paradise), executive produced by Eamon Hardy (Who Bombed Omagh) and Ruth Caleb (Bullet Boy) and produced by Mike Dormer (Clocking Off) and John Chapman (The Lost Prince).
‘The Whale’ premieres on BBC One this Sunday 22nd December at 9pm and will be shown on Animal Planet Summer 2014.
Encore Dailies department’s Jon Gray went over to Bydgoszcz, Poland for Camerimage 2013.View Details
October 29, 2013
Encore Dailies department’s Jon Gray went over to Bydgoszcz, Poland for Camerimage 2013.
142 Dailies department’s Jon Gray went over to Bydgoszcz, Poland for Camerimage 2013.
For one week, professional cinematographers, students and other film industry types from far and wide are brought together in a small city in northern Poland, for an awards ceremony (The Golden Frogs) and numerous seminars and workshops on cameras, film stocks, lighting and techniques.
Deluxe Entertainment Group today announced the re-branding of its leading UK Broadcast Post Production Facility, Encore, which will re-launch as Encore with immediate effect.View Details
October 29, 2013
Deluxe Entertainment Group today announced the re-branding of its leading UK Broadcast Post Production Facility, Encore, which will re-launch as Encore with immediate effect.
LONDON: 2nd December 2013. Deluxe Entertainment Group today announced the re-branding of its leading UK Broadcast
Post Production Facility, Deluxe 142, which will re-launch as Encore with immediate effect.
Deluxe has recently restructured into three distinct business units, with the re-branding of Deluxe 142 as Encore being the final piece of the creative jigsaw in the UK whose brands also include Company 3, Rushes, Method and Editpool. Encore is Deluxe’s Global Broadcast Post Production brand, offering the full range of creative post production services across facilities in Hollywood, New York, Vancouver and now London. Working with some of the world’s most prestigious production companies and broadcasters, Encore has provided post production on numerous top television series, including Fox's ‘Glee’, HBO’s ‘Newsroom’ and ABC's ‘Castle’. Whilst Encore VFX has provided shots for productions that include ‘Under The Dome’ for CBS, ‘Homeland’ and ‘Ray Donovan’ for Showtime, and recently won an EMMY for their work on ‘Banshee’ for Cinemax.
Bill Romeo Encore's Executive Vice President commented on the rebranding saying, "I am very excited to integrate Deluxe 142 into our Encore family and to begin working with the talented crew in London". He believes the alignment of the UK Facility with those based in the US and Canada is a natural progression for the London based operation that already has an unrivalled reputation for its work on high-end UK drama projects. Some of these dramas include: ‘Broadchurch’, ‘Mr Selfridge’ and ‘Luther’ in addition to its portfolio of work that includes comedy, factual and light entertainment projects such as ‘Have I Got News For You’, ‘The Sound + The Fury’ and ‘Fresh Meat’.
The work of Encore in London will continue to be resolutely creative with services that encompass the full range of sound and picture post production from initial pre-production consultation to final delivery. By linking up its operations, Encore will extend the level of international collaboration which has already been used to good effect on recent co- productions such as Starz’s ‘Da Vinci’s Demons’ and Hattrick’s ‘Episodes’. Sharing technology and resources enables Encore to deliver a global service offering that includes high speed file deliveries and remote grading to help accommodate the demands of today’s productions.
Encore in London will continue under the leadership of Director of Operations Johnny Whitehead with the global Encore operation led Deluxe’s Executive Vice President for Television Bill Romeo. The team and current structure will remain as is with further growth and investment planned for 2014.
Johnny Whitehead quotes….
The name change is purely a rebrand and we are proud to be linking up with the rest of the Encore TV group. With the increase in co-productions and buoyancy of the TV market the timing for this exciting development is perfect. The key to the success of Deluxe 142 has been down to the fact that we have outstanding creative talent complemented with specialist project management. The team blends experience, expertise and enthusiasm which combine to help make every show we work on special – this will continue under the new name of Encore.
We have an outstanding reputation for post-production services and the calibre of our credit list reflects this. We are proud to have worked on some of the most talked about and beautifully finished shows of 2013 including ‘Broadchurch’, ‘Mr Selfridge’, ‘Luther’, ‘Peaky Blinders’, ‘Fresh Meat’ and ‘My Mad Fat Diary’ and look forward to more of the same as Encore in 2014.
By sharing expertise and resources we can ensure our place at the top in terms of technical support and infrastructure. This is essential with the forthcoming implementation of DPP file deliveries for UK broadcasters and other technologies such as 4k starting to make an impact.
Deluxe Entertainment Services Group Inc., a wholly-owned subsidiary of MacAndrews & Forbes Holdings Inc., is the leading provider of a broad range of entertainment industry services and technologies to the worldwide entertainment industry including the Hollywood studios, broadcast/cable/ satellite providers, digital distribution, gaming as well as content owners and creators. Services for content creation in features, television and commercials are offered in production, post production, digital distribution, marketing services and asset management.
Encore was thrilled to have provided picture post for the BBC One drama and worked closely with EndorView Details
October 29, 2013
Encore was thrilled to have provided picture post for the BBC One drama and worked closely with Endor
Deluxe 142 was thrilled to have provided picture post for the BBC One drama and worked closely with Endor
The Escape Artist is a three-part 60 minute suspense thriller set in the world of criminal law. David Tennant plays Will Burton, a talented junior barrister who specialises in spiriting people out of tight legal corners, hence his nickname of “The Escape Artist”. Deluxe 142 was thrilled to have provided picture post for the BBC One drama and worked closely with Endor to ensure that The Escape Artist kept its gripping tone; the show was produced by Hillary Bevan Jones and Paul Frift and written by David Wolstencroft (Spooks). Matthew Read, Executive producer for the BBC, said: “After the incredible response we got for William Boyd’s Restless, it’s fantastic to be working with Hilary Bevan Jones again on an original drama that brings together the very best of British talent.” The Escape Artist will be broadcast on BBC1 Tuesday October 29th at 9pm.
Youtube link to trailer: http://www.youtube.com/watch?v=Yx1QaSIaTag
The new series of Channel 4 comedy-drama Fresh Meat will be premiered online a week before broadcast.View Details
October 29, 2013
The new series of Channel 4 comedy-drama Fresh Meat will be premiered online a week before broadcast.
The new series of Channel 4 comedy-drama Fresh Meat will be premiered online a week before broadcast
Series 3 will see all our favourite characters returning to Manchester for their second year at university. Judy Counihan from Objective Productions comments: “Our fabulous gang of six returns to navigate their second year; no longer freshers, but eager as ever to experience uni life to the full and beyond…” The show, written by Peep Show creators Sam Baines and Jesse Armstrong, stars some of the UK’s finest up and coming comedy talent including Jack Whitehall (Bad Education), Joe Thomas (The Inbetweeners) and Zawe Ashton (Dreams of a Life).
Deluxe 142 completed the conform, grade and full sound post on the new series of Fresh Meat. Senior Post Producer Alice Greenland assembled the talented Deluxe team for the third time with Rob Cooper conforming, Jet Omoshebi & Paul Staples grading and Matthew Knights sound mixing. Fresh Meat Series 3 will premiere on 4od on Monday October 28 at 10pm and will air on Channel 4 on Monday November 4 at 10pm.
Chris Roberts, Encore’s supervising sound editor, was on the Sound in Post Production Panel at the Broadcast’s Production and Post ForumView Details
October 29, 2013
Chris Roberts, Encore’s supervising sound editor, was on the Sound in Post Production Panel at the Broadcast’s Production and Post Forum
Chris Roberts, Deluxe 142’s supervising sound editor, was on the Sound in Post Production Panel at the Broadcast’s
Production and Post Forum
The two day event brought together the top names in production and post-production to the BFI Southbank. Broadcast’s event was developed from market research which suggests that television professionals wish to network and learn more from their peers. Chris was invited to speak on the post production sound session, which was centred on the logistics of post-production sound and an insight into the processes of it from key members of television sound community. The delegates at the forum were keen to hear about Chris’ years of experience at Deluxe, along with the challenges he has faced and how the technology has transformed over the years.
The hour long session was never going to be enough time for Chris to convey his immense knowledge, but what he could fit into that time had the crowd enthused and captivated.
Encore completes Full picture & sound post production on Sky Living pilots “Psychopath Next Door” and “Lawless”.View Details
October 03, 2013
Encore completes Full picture & sound post production on Sky Living pilots “Psychopath Next Door” and “Lawless”.
Deluxe 142 completes Full picture & sound post production on Sky Living pilots “Psychopath Next Door” and “Lawless”.
Two pilots for Sky Living’s Drama Matters Season have completed full picture & sound post production at Deluxe 142: ITV Studios’ The Psychopath Next Door and Twenty Twenty’s Lawless. The pilots are part of a brand new season of original programming for Sky Living that celebrates the best in British female writing, acting and directing.
Lawless offers a backstage pass to the inner workings of a modern court, Suranne Jones (A Touch of Cloth) stars as a fiercely ambitious judge determined to dispense real justice. Anna Friel (Pushing Daisies) stars in the creepy drama The Psychopath Next Door, Friel plays a glamorous psychiatrist who is determined to be queen bee of her neighbourhood no matter what it takes.
The Psychopath Next Door airs October 1st at 9pm and Lawless airs Thursday 3rd October at 9pm, both are on Sky Living HD.
Encore are delighted to have completed full post production on Red Planet Pictures newest drama, By Any Means. The six-part BBC drama focuses on a crack undercover police unit living on the edge and playing the criminal elite at their own game.View Details
September 30, 2013
Encore are delighted to have completed full post production on Red Planet Pictures newest drama, By Any Means. The six-part BBC drama focuses on a crack undercover police unit living on the edge and playing the criminal elite at their own game.
Deluxe 142 are delighted to have completed full post production on Red Planet Pictures newest drama, By Any
Means. The six-part BBC drama focuses on a crack undercover police unit living on the edge and playing the criminal
elite at their own game. By Any Means is currently airing on BBC1 9pm on Sundays.
Period gangster drama Peaky Blinders broadcast on BBC2 to rave reviews, post production on the gripping British drama was a joint effort between Encore and our sister company Rushes.View Details
September 30, 2013
Period gangster drama Peaky Blinders broadcast on BBC2 to rave reviews, post production on the gripping British drama was a joint effort between Encore and our sister company Rushes.
Period gangster drama Peaky Blinders broadcast on BBC2 to rave reviews, post production on the gripping British drama was a joint effort between Deluxe 142 and our sister company Rushes. Peaky Blinders is currently airing from Thursday 9pm on BBC2.
We offer the full range of sound and picture post production services in our first class facility
in Soho. Our talented team of operators is backed up by experienced project managers and technical knowhow.
During your visit you will be looked after by our client services team who will cater for your every need from the comfort of your suite. In addition you have a large choice of speciality teas and coffees in one of the numerous clients areas or our large coffee bar.
The Encore sound department combines a collection of award winning in house re-recording mixers, sound editors and
ADR recordists with a pool of well-known freelancers. Their combined experience covers all genres of sound post production
for both television and features. The high standard of their work has been recognised with awards from BAFTA, RTS,
UK Screen and MPSE.
We provide sound editorial and design including supervising sound editors, re-recording, ADR and voice over facilities. Seven state of the art studios provide the perfect environment for creative sound services on projects of any size and scale. Our largest studio is 75 sq. metres and has a Dolby Theatrical License.
In addition to our sound mix and editorial services we also provide full ADR and V/O facilities. Our talented and personable team of ADR recordists will ensure that your session runs smoothly. We have a large studio which can accommodate crowd ADR and domestic and global connectivity is provided via Source Connect and ISDN.See credits
Our inspirational team of colourists have incredible CV’s and combine experience with creativity and work on some
of the most prestigious and talked about productions across all formats including UHD and HDR.
We also offer remote grading sessions with our Streambox technology allowing two facilities to link up globally.
CV’s and credits for our teams are available upon request.
Our Flame artists have the experience and expertise to ensure your creative brief is fulfilled on every project both
large and small.
We have six new Flame suites which combine with our start of the art SAN to provide scalability and powerful online performance.
From titling, repair and beauty work to complex VFX, Encore have the tools and talent to realise your vision.
Encore London’s visual effects department has access to a global roster of award-winning artists. With a core team
based at our Wardour Street facility in Soho, London our international network means that artists working at our dedicated
VFX studios in Hollywood, NYC, Toronto, Vancouver and Pune, India can also be accessed, offering the flexibility and
scalability your production requires
Our international reach means that we can help with visual effects requirements regardless of production location – offering a one-stop shop for all VFX services from pre-production, concept artwork and pre-visualisation through to on-set supervision and completion of final composite shots and CG animation.
From digital matte paintings, set extensions and crowd replication to beauty work, we utilise Nuke for compositing and Maya for CG animation and modelling and have the ability to create and incorporate visual effects seamlessly into the picture post pipeline.
Encore’s reputation and strength in picture and sound post production means that our London VFX team is uniquely in tune with the demands of creating long form television production, working hand in hand across all departments to deliver seamless effects on time and in budget.
Encore have 30 spacious cutting rooms on site that are available either as a ‘4 waller’ for those who wish to provide
their own kit or as fully equipped Avid offlines.
All suites are supported by our skilled technical operators and engineers.
Our client services team will look after you from the comfort of your suite or in one of our wi-fi enabled client break out areas. Drinks including speciality teas and coffees are complementary.
We have a Data I/O department who can take care of all file transfers and data management in a secure and efficient manner.
Our dailies team provide a full grading and data management service and will engage with you at an early stage to
ensure the optimum workflow is in place for your production. Working closely with your camera team we will verify,
colour, prepare and securely deliver your dailies wherever required.
We can set up mobile labs in any global location as well as operating directly from our Soho base providing dailies that are reliable, cost effective and look great.
London142 Wardour Street
T +44 (0)20 7149 2000
New York218 West 18th Street, 12th Floor
T +1 212.444.5555
Hollywood6344 Fountain Avenue
T +1 323.466.7663
Vancouver50 West 2nd Avenue
T +1 604.872.7000