PROCOVER
(Left to right) Peyman Parham Al Awadhi, Tony Ruthnam, Stefan McDad, Martin Roberts and Mohammed Parham Al Awadhi.
The crew Presenters: Mohamed and Peyman Al Awadhi Jared Levy and Justin Hamilton: Directors, Producers and Cinematographers Steven French: Cinematographer for the Singapore, Istanbul and Dublin episodes Tom Savage: On-location sound recordist for the Singapore, Istanbul, Dublin and UAE episodes Cary Daniels: On-location Sound Recordist for Seoul, Tokyo, Bangkok, Melbourne, Austin, Buenos Aires, Nairobi and Beirut episodes Craig Ormiston: Supervising Producer and all-round problem solver Andrew Smith: Social Media Director James Daniel: On-location DIT traveling to each of the countries as well as performing narrative offline editing duties Simon Holmes, Stefan McDad and Tony Ruthnam: Based out of twofour54 Abu Dhabi. Holmes handles narrative offline editing and McDad handles the audio post. Ruthnam handles the structuring of the show and the online editing, which consists of the grading, finishing and output
some segments of the show, the crew learnt as they filmed and only got a firm grasp of the format by the time they were in the third country. Having said that, it is this ambiguity that brings a thrill of unravelling something new every time. Tony Ruthnam, Senior Supervising Editor at twofour54 and Lead Editor and Co-Producer of Peeta Planet, handled the pilot of the series. He has also worked on the post production of the subsequent episodes. Ruthnam describes the show as organic; although it doesn’t follow a definitive script, everything falls in place because everyone in the team shares a common vision. He explains, “We don’t have a script but about three hours of rushes for an
interview that are sent to us. Given the nature of the show, you film for two hours and get two minutes.” A multi-cultural crew adds yet another dimension to the multilayered show. No one in the team except for the presenters is Arab. The team on location puts together a plan and the brief is sent out to the crew at the editing desk. One member of the post collates all the information. As soon as the information is picked up it’s on Google handle instantly, discussing how things are going to playout. The editors receive up to two terrabites of footage for each episode to work on in post. The colour grading is done on ProTools10 and Final Cut Pro suites. “The footage that comes back is
“It’s a completely new way of filming, where the viewers are all directors of the show” Peyman Al Awadhi
22 | www.broadcastprome.com | July 2013