A Polished Performance By DT Editing At The Opera

DT Editing has used its new Avid Media Composer system, supplied and supported by Altered Images, to edit two one-hour documentaries for Reef TV and BBC2.

The 'Lucy Worsley's Nights At The Opera' two-part series was launched by Tony Hall, the BBC's Director General, at the Royal Opera House last month, marking the start of the autumn documentary season.

Altered Images supplied the new Avid suite at DT Editing's post-production facility in Surrey, including Avid Media Composer software, Avid DNxIO, an HP Z640 desktop workstation and a 32TB Accusys Storage RAID. Offline editor and owner of DT Editing, Daren Tiley, explained how he worked on the programmes, which looked at the history behind many of the world's greatest operas.

"Each episode had rushes shot in both 4K and HD, with music performances by the Music Director of The Royal Opera, Sir Antonio Pappano, shot in 4K," Daren explained. "This gave me greater flexibility when editing in Media Composer since it meant I could pan and scan to HD as required. It was also really useful having the Read Audio Timecode function on the Avid, since the sound man on shoot recorded LTC [audio timecode] on track one as they couldn't access a gimble-mounted camera to connect it for sound. Having that function on Media Composer was essential."

This was the first time working with Altered Images for DT Editing, based in Surrey, and Daren was pleased with his choice of editing system. "The new Avid suite gives me the flexibility to work on a number of projects, with lots of DNx185 rushes. I have a large storage system and work with the production companies for archiving. Altered Images were great helping me get everything up and running, plus providing telephone support when it was required during both the setup and the Nights at the Opera project. They were also able to log-in remotely and help sort out a couple of my queries; post-production just doesn't need to be based in London anymore."

www.alteredimagesltd.com

This article also features in the November edition of Broadcast Film & Video.

(JP/LM)