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February 2018

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DEPARTMENT 14 POST FEBRUARY 2018 BORIS FX'S CONTINUUM 11 PRIMATTE TECH IS IN-STEP WITH NBC'S WORLD OF DANCE BY YORAM TAL ("TAL") COLORIST & ONLINE EDITOR LOS ANGELES, CA Y@TAL.BZ hris Stott, a.k.a. "Stotty", is the co-executive producer and segment director for NBC's newest hit reality dance competition World of Dance. He previously worked on a myriad of very successful reality television shows, earning his way into the industry by spending over 20 years in the editing suite. He worked ex- clusively for Simon Cowell in England, and received the opportunity to come to the U.S. to work on America's Got Talent. He ventured out to the field six years ago. After Stotty moved behind the camera, he became a producer on America's Got Talent. "We wanted to add production values to the show and make the show even more glossy than it already was, so we started bringing in large format cinematic cameras and new gear like the Movi," says Stotty. "We developed and shot scripted segments and pulled off huge helicopter shoots for the opens. That gave America's Got Talent an extra layer which is still seen in the show to this day." In 2014, he made the move to NBC/Universal Television as a creative director. "I worked as a segment director on I Can Do That and Best Time Ever with Neil Patrick Harris, and eventually as co-EP on Better Late Than Never," notes Stotty. "Now I'm the co-EP/segment direc- tor on World of Dance." THE CHALLENGE World of Dance is a worldwide phenomena that came to TV after years of work. It instant- ly became wildly popular. World of Dance is a brand new take on finding the top dancers in the world with a final prize of one million dollars. The show's three judges are Jennifer Lopez, Ne-Yo and Derek Hough with host Jenna Dewan-Tatum. The show lives in two separate "worlds" — the performance stage where dancers and dance crews battle each other and backstage where they prep. "We didn't have much access to the judges due to tight production schedules and the fact that they are huge superstars," explains Stotty. "So, when we finished shooting the interviews on stage during the show, I shot multiple plates for future greenscreen as we knew we would need them for later interviews." "As the offline moved forward we knew pickups were needed to support the storylines as they emerged," continues Stotty. "A couple of months after we wrapped production, it was time to do all the greenscreen pickups. We shot the interviews with executive produc- ers, Matilda Zoltowski and Kris Curry, in Los Angeles, Boston and New York." The main challenge was how to blend together the interviews and the plates in a way that would make it look as if the interviews actually took place while filming C NBC's World of Dance Some interview portions of World of Dance were shot at different locations than the live performances. Tal Stotty

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