Our Creatives
Read what our team of talented creatives had to say about the project.
Graeme Hayes, ENVY Colourist
“My task was to maintain a universal grade that remained true to the tone and feel of the documentary. The clients requested a natural appearance that did not detract from the story conveyed through interviews and archive videos.
I made minor enhancements to the archive footage to capture all the details without over-grading it to the point where it no longer resembled footage from the 90’s. The main goal was to create a cohesive program that felt like it was part of the same story. This was achieved by preserving the authentic look and feel whilst ensuring that the audience remained engaged in the story from start to finish.”
Damon Tai, ENVY Online Editor
“I had the privilege of collaborating closely with Series Director, Michael Ogden, and Editor, Charlie Hawryliw, on a project that centred around George Michael’s arrest in 1998. Through talking head interviews and archive footage, they crafted a poignant and captivating story.
My brief was to enhance the footage, which came in various formats and qualities, by fixing frame dropout, de-noising, and other video issues that come with changes in technology over the decades. Using Avid Symphony’s vast array of plugins and BCC effects, I ensured that the archive footage matched the rest of the program, which spanned decades of George’s career. Additionally, I utilised Mocha to create clean plates to remove unwanted elements from the shots.
Working with Blast! Films on a project that recalls such a significant moment in George Michael’s life and career was truly an honour.”
Matt Skilton, ENVY Dubbing Mixer
“The documentary focused on two aspects, namely the personal story of George Michael and the way the tabloid media treated him and others featured in the programme. Out of respect for the nature and content of the story, I approached the project with sensitivity.
Firstly, I balanced the audio levels and used iZotope to clean up the vast archive material, which ranged from over 20 years old. Whilst the tabloid media stories were edited in a fast-paced manner, we chose to minimise the sound effects, as we wanted to ensure that the memory of George Michael was treated with respect. The music score was created with sensitivity, complementing the documentary’s subject matter. I replicated the same style and feel from the first part in the second part to maintain consistency throughout the documentary.”
