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February 2017

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www.postmagazine.com 22 POST FEBRUARY 2017 POSTING REALITY TV ditional help when needed. Typically, one editor handles what Rohwedder describes as the 'A story' and another the 'B story.' "We never know what the big problem is going to be with builds," he notes. Having dedicated editors for each storyline helps to keep the tone consistent. Editors at Pilgrim Media Group cut on Avid systems. Typically, an episode can be posted in six weeks, though some have been completed in as few as three weeks. "I try to pay attention to the small details," says Rohwedder, who points to the show's production audio as an example. "A lot of shows use effects, but we try to strive for a tone that's authentic." Early on, the team noticed that some of the sounds from the massive hot-rod engines were being blown out and not translating well in the viewer's living room. The crew found that a Shure Beta 52A microphone, commonly used for mic'ing kick drums, worked well for capturing the low-end rumble of the high-powered engines. This allowed the audio to remain authentic. Fast N' Loud draws on the Vanacore Music's (https://vanacoremusic.com) production music library. "I can't tell you how much I love the rela- tionship with David (Vanacore)," says Rohwedder. Vanacore is based in Valencia, CA, and offers both library and custom music services. The show makes use of both, and Rohwedder estimates that each episode features at least one or two original tracks that reflect the uniqueness of the car being built. The show's final look comes together in the color suite at Pilgrim Media Group. "From day 1 we started [developing] the look, and it took a while to get that [final] look," says Rohwedder. "Once it was set, we haven't adjusted it much during the years." Rohwedder says the look is "warm" and is designed to compliment the dry, rusted-out cars that the shop brings in. "The DP and team in online worked hard to get that look. It's amazing to see the video in online." The studio performs color correction using Avid Symphony. Color, says Rohwedder, did change "dramatical- ly" when the Gas Monkey team moved into its new, modern and much-larger shop in Dallas. The old shop is seeing new life too, as former Gas Monkey employees started their own hot-rod business in the familiar space. Like Rawlings, Pilgrim Media Group saw an opportunity too, and created a new show based on the upstart. Misfit Garage features many familiar faces from early seasons of Fast N' Loud. There's plenty of drama, too. And Richard Rawlings often makes appearances, keeping the shows closely connected. — By Marc Loftus KICKING & SCREAMING/MY KITCHEN RULES Colorist Yoram Tal, better known as "Tal," has made an impressive career for himself working in the reality TV genre. Some of his credits include Dancing with the Stars (beginning in season five), Fear Factor, Wipeout and Running Wild with Bear Grylls. Tal is now adding two more shows to his credit: Fox's newest competition-based series, Kicking & Screaming and My Kitchen Rules which, Tal enhances outdoor colors on Kicking & Screaming. Kicking & Screaming was shot in Fiji. Fast N' Loud is posted in North Hollywood. Fast N' Loud is posted in North Hollywood. Fast N' Loud

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