Anzo Noya Castro, Technical Director Audiovisual voiceWorkflow details bringing ‘Atrápame se podes’, an adaptation of the legendary regional competition, to life TVG It is supported by a wide range of equipment Spectacle trick.
Catch me if you canAdapted for Galician TV catch me if you can An eternal rivalry with a long history on many Spanish regional television stations, this is not the kind of televised competition we are used to seeing in recent times.
Original format Hastoil It continues the tradition of those forms where agility and knowledge play an important role. Candidates have to measure their wisdom till they reach the final challenge to qualify for the precious prize. With more or less stages or duration depending on the identity of the competition in each region in Spain, the Format adaptation And his Engagement Viewers have let it air for years.
A Galician version of this design, Catch me if you canis a joint product between Mediapro Y Audiovisual voice, a veteran producer with 38 years of experience, handles all production and post-production work of the design. Instead of spectacular packages, large technical resources, or packages with dozens of competitors, the biggest challenge is optimizing program resources. Very fast registration rate And one Post production phase where transcoding and rendering are minimized to deliver masters to TVG at recording time.
Angel Noah Castro Opening the door for a more technical aspect of the competition to deliver a work flow of over 750 episodes in just three years.
Agility: Very high demand Catch me if you can
To highlight high production rate Catch me if you canAnd Noya insists that the group 50 persons Audiovisual voice shaping recording format Five shows a day. TVG The daily chose to change the format so that they aired every week Five episodes of this match; On special dates like Christmas, standard episodes get a new dimension with various specials.
“Ultimately, that’s what we’re looking for Production values It allows a High utilization of resources“
To meet this pace of work, Galician manufacturing company A Workflow “Clear, mechanized and very active”, so that everyone on the set clearly understands their operations: “The cameramen know their shots, the director works mechanically, the graphics system is included in the set…”. As Noya acknowledges, there is very little room for improvement The EDL Final It’s pretty much the same in every episode. That shouldn’t be seen as a negative, however The culmination of an exploration process To develop resources for a competition that is sustainable and assured in its benefits. Viewers know what they’re going to find, and their support for the program is indicated by its audience share of 13.3%, two points above the network average. “The structure of the program has not changed nor has its duration varied. It works well for us and we have a very stable audience,” says Noya.
Some adaptations Catch me if you can For the rest of Spain, they are registered from the same package, which is slightly modified or customized with graphics to provide additional identification. Maybe Catch me if you can Different: Voz takes an audiovisual form One of his four courses, where natural resources are permanently established. This decision has allowed the production company to improve its technical solutions until it completes a formula that is now integrated, beyond providing additional comfort to the talent involved in the production and the audiovisual voice team.
HD capture with flag adaptation
Change of ST AL HD, compared to other production companies, Voz was the front and back in audiovisual. The Galician company transformed its entire technical infrastructure in its two production studios, and made a significant investment in 4K capture solutions, designing such series. the fogFollowing a long career in fiction that began with films like The language of butterflies (1999) or other television formats Spring tides.
In parallel, Noya and his team identified an opportunity in the market to complement their equipment for traditional television formats with cameras. URSA Broadcast G2 D Blackmagic. Voss Audiovisual chose these capture solutions Low cost According to him adaptation For the many needs that the production company may have in everyday life: “We chose this camera because it allows us to record this type of program in a studio setting, and also gives us the opportunity to use it. Autonomy in other forms such as documentaries, commercials or serials. Ultimately, what we seek are productive values that allow us to make better use of resources.
URSA Broadcast G2 en Catch me if you can
URSA Broadcast adapts to G2 needs Catch me if you canSince the characteristics of the project can obtain “maximum performance” with minimal investment, Voz Audiovisual can already take advantage of equipment such as optics, tripods or cables: “We are talking about a very limited and mechanical form. , and the requirements “they are very divided.”
Apart from the automation and synchronization issues, they are still in the testing phase and will help Voz improve audiovisual staging. Catch me if you can In the future, Noah highlights the benefits of five cameras that will make production: Visual coating (verified but suitable for the design they produce), as well as capacity Record content directly in 1080 50pThis greatly speeds up the post-production phase.
One Project, One Day: Agile Post-Production Catch me if you can
Audiovisual voiceover records each episode Catch me if you can cheater Five URSA Broadcast G2 from Blackmagic A 40×40 videohub is connected to the mixer via a matrix Atem Galaxy 4K, An Atem camera is controlled by a control panel and captured by four recorders Hyperdeck Studio HD Pro. Director creates the design in real-time, introduces graphics and creates a premix that consumes its sources. NAS It is connected to post-production stations through a 10 GB network.
Once an editing assistant is responsible for synchronizing the camera feeds and the produced program, the editors spend a day at the MAC stations making the final cut of each episode. serious Media Composer. The final EDL, mainly based on reducing the 50 total minutes of filming to about 35 minutes, will be sent to an additional terminal responsible for the export of the finished project. Finally, mastering will be done for TVG broadcast requirements Da Vinci solution oh Adobe Media Encoder.
Otherwise the workflow may seem routine No proxies In the process. This result is possible due to having a wide capacity network and exportable formats through the Blackmagic ecosystem. Size filesIt adds up 2 TB per day. As Noya says, the benefits are overwhelming: “With immediate post-production, we decided to do our own editing on the raw material. This saves significant time because we don’t have to do any kind of transcoding.
“As After production There are ImmediatelyWe decided to edit it ourselves Total. This saves a significant amount of time because we don’t have to do anything transcoding”.
Resource optimization, agility and adaptability They frame every decision Audiovisual voice for Catch me if you can, a trail that Noah and his team continue to explore weekly to take their work to the next level. Sometimes, the creativity of the products lies not in the design, but in the results that lead to it Better management of resources.
Reporting by Sergio Julian Gomez
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