Issue link: https://digital.copcomm.com/i/941133
www.postmagazine.com 20 POST FEBRUARY 2018 REALITY TV build music bins, sound effects. You send all of your questions to me and I'm the one who kind of makes sure everything happens and comes together as quickly as possible." Production has been upgraded since the show's original run, thanks in part to the availabili- ty of new camera technology. "Back in the day, they had some pretty inex- pensive consumer cameras," says Pisnieski. "The iPhone does create a pretty good video image, so we use that for Paige Davis to record her little mo- ments that she has during production. We used a DJI Osmo camera just to float through the rooms. It really gave you a lot more freedom to navigate between all the different talent and what they are building. There's a lot more access to newer, more innovative technology. That's a big change." While the 2018 show was inspired by the origi- nal, it doesn't use any of its existing elements. "All of the music is modernized and reworked, but it is definitely very similar," Pisnieski ex- plains. "The graphics have obviously been mod- ernized. Everything is inspired by the original series, right down to even the frame rate and resolution. They wanted to stick with inter- laced rather than progressive, which is pretty standard these days. They didn't want to shoot 23.98. They wanted to shoot 59.94 to give a similar look to when they were shooting back in the day in standard definition. The production's main cameras are four Canon C300s. There are also numerous GoPros em- ployed throughout. "GoPros are attached to a lot," says Pisnieski. "Obviously, they are put up in the corners of rooms. If Ty Pennington is building something, it would be on his drill press. You might see it attached to the tool table in Tool Town. They definitely tend to get camera operators into tight spaces. Especially the Osmo, which is a gyro unit. You can go all over the place with that type of device. You will definitely see some very interesting perspectives of what they were creating for this show." Outside each home, the production team uses jib arms to set up establishing shots. There's also plen- ty of timelapse photography of the city the show is shooting in, the houses, the sunrise and sunset. "That's used in every episode, you'll see timelapses," he notes. Getting all of the footage from the different cam- eras ingested and converted to a common codec is what Pisnieski says is one the biggest challenges. "For Authentic, it is a tough show because this is actually our first experience with it," he explains. "It was with different production companies be- fore that…There were definitely some challenges of figuring out the pacing, when to apply music. A lot of the original series would play dry. There wasn't as much music. It wasn't wall to wall, like traditional reality shows, so it was trying to figure out what worked in previous seasons and how to modernize it a little bit but still keep to what made it so magical early on." As each episode is shooting, there is a post team at Authentic accepting all of the media and processing it. Editorial begins towards tail end of production. Post is dependent of the production wrapping up at a certain time. On local shows, a PA will run the footage back to Authentic. "But with this type of show, you really don't Davis will use an iPhone to shoot her segments. Canon C300s serve as main cameras. Fans will recognize familiar faces.