ENVY provide Full End to End Services on Reality Dating Show

By October 21, 2021 No Comments

ENVY provided full end to end services, from location work flow & record, right through to the post-production and final delivery on Potato’s (Part of ITV Studios) new dating show ‘Ready to Mingle’.

Hosted by comedian Katherine Ryan, the series will follow a single girl in the search for her perfect partner, as twelve male suitors compete for her affections and the chance to win a big money prize.

However, in a mischievous twist, not all the boys are single with a number of them being guided by their partners in pursuit of the prize. Taking up residence in a luxurious house, the single girl will get to know all the boys through activities, games and dates, eliminating each boy one-by-one until her ‘dream man’ remains. Which boy will be left standing? Can she suss out who is the real deal? They may not all be single, but they’re all Ready to Mingle.



ENVY’s CAPTURE team delivered full record, onset edit and media management solutions for Potato’s new dating series Ready to Mingle.

CAPTURE rolled out its custom solution to record 8 HD streams – at XAVC Intra 100Mbps – whilst simultaneously creating low-resolution proxy media, ready for editing onset and transfer back to ENVY to be made available for the edits, both in Fitzrovia and working remotely.

Onset, they supplied a full Avid infrastructure to allow VT packages to be edited from, both fixed-rig and PSC content for play-in to the contestant’s partners; giving them a window into the goings on within the main house – media was handed over grouped and synced by the CAPTURE team for the fast turnaround edit.

Aside from the fixed-rig workflow, a large portion of the production took place away from the main house and was shot using ARRI Amira and ARRI Alexa Mini – shooting Apple Pro Res HQ 422 – with the resulting camera cards being handed over to CAPTURE’s technical operators for full back-up to three locations.

As part of the media management, CAPTURE produced interactive shot logs for every camera card, including thumbnails outlining the content of the card as well as a full round up of all the technical metadata available for every single clip that was shot. Full detailed reporting of storage totals and a breakdown of the content received were supplied to the production team every day to allow them full visibility of the record so far.

All high-resolution files were brought back to London at the end of the project, and hooked into ENVY’s nearline storage estate – ready for their fantastic post production team to take over.

Ricky Martin – CAPTURE Head of Operations: 

“This was one of the first big productions following the lockdown in early 2021, so it was really fantastic that it was one with all the various elements that could be offered, even in the most complicated of situations, with Covid still looming.” comments Ricky Martin, HoTO at CAPTURE – “Being able to give not just our technical services, but add our editorial experience to what was a very fast-paced onset edit, made the production something really exciting to be involved in, especially after so many of the crew having had quite a long hiatus from the world of big fixed-rigs.”
“To provide a fully redundant record workflow with three copies of the media, all content was recorded twice on distinct systems to CAPTURE’s specialist RAID-storage systems – and then written to LTO7 tape in the field, which would be removed to a secure location every few hours. The entire CAPTURE system is protected by UPS to ensure that media cannot become corrupted or lost during unexpected power failures.”


Robert Le Merle – Tech Supervisor, ITV:

““Ready to Mingle was a new show and there was an extra focus on the imaging pipeline for this series. Fixed rig shows always generate a huge amount of media, so the chosen capture codec can also have a significant cost impact. It’s a difficult balance to get the raw picture quality needed for post production but not drown in data storage. This can also be hampered by the limited choices on offer. Recording systems are traditionally homogeneous in their codec licenses and many are built around quite old formats.

I was immediately interested when Ricky told me about the options he had to capture in XAVC. It felt like a bit of a game-changer. The show was also being supported by a substantial amount of multi camera set-ups and PSC shoots – all being recorded locally on Arri Amiras. The director was pushing for quality, so we had to design a workflow that delivered it. The ENVY team were able to centralise all fixed rig capture and location data wrangling, supported by on-site edits suites for VTs being cut and played-out during the record. The location was remote with very limited connectivity and we were utilising all the 4G we could muster to stream multi-views to off-set stakeholders. ENVY created daily capture reports and transported proxies back to London, so the edit could start immediately. For a brand-new format, it came together very smoothly”.


ENVY Post Production

Dicky Everton, ENVY Online Editor:

“The brief was simple – make the show look awesome!

I worked closely with the Executive Producer, Laura Woolf, throughout the on-line for the entire series. Laura has huge experience of the genre, and had a clear vision for this particular series, both in terms of editorial content and overall creative design. During all the on-line sessions we used WhatsApp audio to keep in touch, and my output was permanently available for Laura to watch via Streambox. This facilitated immediate feedback on questions I had, and enabled Laura to comment as I was working – it just like having her in the room with me.

The team of off-line editors created a stylistic look, which they applied to all the transitions used to book-end each section of live-action. ENVY ensured that Boris BCC and Sapphire plugins were available in all the off-line suites, and these were used throughout each programme to create eye-catching and contemporary looks to the GV and drone footage. These ten-second interstitial elements were built using lens flares, whip pans, zoom punches, distortions, and JPEG image breaks up effects. These interstitial sections create a natural chapter break between scenes and help maintain the fresh and exciting nature of the show. I ensured that all the effects sections had been split out correctly for the grade, I then rebuilt them, ensuring that the desired result was being achieved.

I then performed a stabilise and re-frame pass throughout. The show was shot primarily on fixed-rig cameras, with some of the scenes taking place outside where the cameras are susceptible to being shaken by the wind. Almost all exterior fixed-rig footage required stabilising, so I used the Avid auto-stabiliser or the BCC Optical Stabiliser to achieve this. Other shots required re-framing to exclude crew or equipment, so I created a palette of effects that I could simply drop-on and adjust on a shot-by-shot basis (re-frames, clones, paint-outs, etc.)

Once all these on-line processes were complete, and the sequence rendered, Laura and I reviewed simultaneously (she was remote throughout) and we made final tweaks as we watched together”.

Ben Ormerod ENVY Dubbing Mixer Said:

“For this project there was no specific brief, as the style and pace of the edit really dictates the kind of mix needed. The location recordists had done a great job of capturing everyone, so we had a good set of ISO tracks to mix the dialogue from.

Despite this I spent a good amount of time cleaning unwanted background noise via Isotope’s RX suite, to ensure that all the edits are smooth and increase the clarity of the dialogue mix – which in turn allows the music to punch through where necessary.

Additionally, there was some home recorded ADR that needed to be bedded into the production dialogue. As always with ADR it’s important to make everything as seamless as possible as you don’t want to ruin the TV magic and have noticeably different audio feeding out to viewers. To achieve this, I used the Isotope RX application to smoothly embed the recordings and maintain the dialogues congruence.

Overall the mix is dynamic and punchy, so as to match the style of the show”.

Paul Fallon, ENVY Colourist:

“We wanted to enhance the beauty of the photography and make the most of the amazing location with stunning ocean views. To complement the imagery I used a fresh, bold and contemporary colour palette. The result is a vivid & vibrant grade – matching the visual grammar and vibe of the show.”


ENVY Credits

Location Workflow & Record: ENVY CAPTURE

Online Editor: Dicky Everton

Dubbing Mixers: Ben Ormerod & Andy Hodges

Grade: Andrew Cloke & Paul Fallon

Post Producers: Rosie Hargreaves & Sophie Bagha


Watch ‘Ready To Mingle’ on ITV Player.


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