Issue link: https://digital.copcomm.com/i/9707
Under One Roof Team’s 21,000-square- foot facility features 18 editorial suites with a variety of gear. booths, one of which is large enough for Foley sessions. Back in the early ‘90s,Team had a linear Digital Betacam suite and one of the first Avids. Crow was a hands-on editor, cutting commercials, while the other room was used for long-form work, particularly docu- mentaries.The studio also cut the re-enact- ments featured in the popular show, Amer- ica’s Most Wanted. Today, Crow says Team has built a suc- cessful business around the promo and mar- keting work it handles for Discovery Net- work, National Geographic Network and History Channel.They are also looking to take advantage of the political work that abounds in their market — something they hadn’t focused on in the past. “Political is becoming bigger because we are focusing on it,” Crow explains. “In Washington, DC, there is a lot of political work, and it’s hard to ignore.We didn’t do as much of it in past years because we did so much network promotion.We are fo- cusing on it more now because we are very good at spots here.” Political work can range in terms of bud- gets and deadlines. Image spots, which brand or position a candidate, can have more ex- tensive budgets and shoots, while response ads might have to be put together more quickly, often incorporating simple newspaper headlines and YouTube-quality video clips. The Travel Channel is also an important client, and Team handles much of the network’s mar- keting promotion work. Crow says Team got in- volved with the network right as it was migrating away from parent company Discovery and as it was looking to go HD.Team put together five Final Cut Pro rooms that would be able to meet their HD promo needs. And while the studio has grown over the years, it no longer keeps a DP on staff. In- stead, Crow says Team has a roster of talent that they will call on for production needs. Such was the case for brand-new History Channel project that features an integrated sales opportunity with Geico.The Caveman spot takes place in DC and called on various locations for its shoot, including The White House and The Capital. “You can’t just show up and shoot,” Crow says of these DC locations. “All the permits were done by the numbers. Our creative director was the main interface with The History Channel’s creative direc- tor.We shot it on Red and brought it back here and cut it in Final Cut.” The project was exported to eQ for finishing and color correction. At the same time, Team’s Pro Tools suites were posting the audio. The integrated digital house continued on page 51 While “under one roof” is a term you are hearing more of, the key on the technology side is becoming an integrated digital house.This means that you have the resources to accommodate any project in- volving production, transfer, editorial,VFX/DI, sound design and color correction in one location and on an integrated file-based network.Without that seamless integration you don’t gain the cost and creative efficiencies that “under one roof” achieves. On the cre- ative side “under one roof” is being large enough to provide the right creative choices while maintaining a “boutique” feel.This con- cept only works if you have the right creative team for the project under that roof. It’s not easy but we have been working on this model for well over seven years and once you get it working it’s great for clients. We felt the next step in this model was the leveraging of creative and technological integration across the film, content and advertis- ing businesses,so we launched Dive on the film side, which just re- cently completed VFX on The Road. On the content side, Shooters co-developed and produces Food Network’s Dinner Impossible.This step is proving especially rewarding on the creative side. By Ray Carballada, President Shooters Post & Transfer/Dive, Philadelphia www.shootersinc.com 46 Post • April 2010 www.postmagazine.com