![]() The online and grade worked very closely together alongside Hammerson to give the archive a distinct filmic look using textures and overlays that would sit in seamlessly amongst UHD HDR footage.įor some scenes, Henley heavily degraded UHD footage of Jenson Button and Ross Brawn to embed them amongst some very low-quality sourced archive scenes. ![]() Close attention to detail was spent in the pre-grade online through restoring the archive and losing unwanted compression artefacts that could distract the viewer from the compelling story. The archive was an integral part of the story telling process. Online editor Stef Henley completed the UHD HDR Dolby Vision online using Autodesk Flame with online assistants Marshall and Nicholson. It was a real privilege and intensely rewarding to work with Hammerson and the teams at North One and Disney on this project.” As a viewer, you are not only glued to the brilliant Reeves and the journey he takes us on with Brawn but also wholly invested in the characters and events that we see unfold. Knowing how much everyone at Picture Shop and North One collaborated to get the series over the line made the result one which the entire team is even more proud of. Speed said: “From a creative perspective, working with North One and Simon Hammerson on this incredibly large and complex project was fantastic. Despite having to work quickly, the process was a labor of love, and the result is a soundtrack that sounds cohesive between the two composer styles and has all the energy and drama that Hammerson was looking for. In some instances, that also involved building sections of music at the mix stage, using elements from the various music cues available. Speed worked with Hammerson to create the nuance and drama that Hammerson wanted to achieve with the music. The score, composed by Philip Sheppard and Baby Brown, plays a huge part in the series. At this stage of the mix, Hammerson was based in LA, so both he and Speed would touch base and communicate ideas remotely. ![]() He had to work intensely to EQ and balance the dialogues, as well as the archival race and sync sounds, beds and layers of FX spots, ambience, sound design, and music. Speed had three days for the pre and final mix with a fourth day for the final review and sign-off. Car revs and grunts, individual crowd and tannoy spots were all added to enhance the original mono or stereo sync archival broadcast sound. To achieve this, Onek layered the edited archive FX, building and re-creating a soundscape for the various race sections within each episode. To be able to create as immersive a surround mix as possible, Speed needed to balance and pan the individual elements of the separate cars on a grid and racetrack. Onek had just five days to complete the dialogue edit as well as the FX and sound design. From those, re-recording mixer Speed auditioned and edited down over 300 clips of cars passing, crowds, and tannoy sync sounds. Series editor Owen Davies at North One provided the sound team with broadcast M+E wavs from several F1 races from 2009. To be able to create a detailed and immersive 5.1 mix, the first task was to provide Ivan Onek, sound designer, with enough authentic source sound clips to be able to layer and build up all the individual spot FX needed. One of the initial challenges was gathering as many accurate sync sound files of the cars and races from 2009 as possible. The Picture Shop Unscripted team that worked on the project included colourist Alex Chernoff, online editor Stef Henley with online assistants Max Marshall and Richard Nicholson, re-recording mixer Steve Speed with sound designer Ivan Onek, and Picture Shop executive producer Yasmin Amey.
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