RTS ANNOUNCES WINNERS FOR CRAFT & DESIGN AWARDS 2012
The 2012 awards saw a host of television professionals competing in 22 categories for a coveted Royal Television Society Award. The awards recognise the huge variety of skills and processes involved in programme production, from costume design and digital effects to editing and lighting.
The RTS Craft & Design Awards 2012 were chaired by Nigel Pickard, Chief Executive Officer, Zodiak M.E.E.A and UK, Kids and Family. The awards ceremony, which was hosted by British TV presenter Laura Hamilton, took place on Monday 26 November at The Savoy, London.
Effects Digital: Lexhag Visual Effects Team
“On a tight schedule and a tight budget, the winning programme was well executed and imagined. The end result made the programme stand out against others with similar aspirations.”
Effects Special: Andy Heath & Iestyn Evans of Talk to the Hand
“It's not easy to add humour and comedic timing to a puppet show, but our winners succeeded and on a very tight schedule.”
Costume Design Entertainment & Non Drama Productions: Ameena Kara Callender & Noel Fielding
“…a true collaboration, a seamless piece of highly creative work that is a live cartoon – true visual madness!”
Costume Design Drama: Annie Symons
“…a strong visual impact and [a] successful interpretation of the characters, particularly Miss Havisham and Magwitch, significantly enhanced the production.”
Photography Documentary/Factual & Non Drama Productions: Camera Team
“A stunning and technically innovative ground-breaking programme. Beautifully filmed and using a vast range of mechanical and artistic techniques, …a truly awe-inspiring series.”
Photography Drama: Christopher Ross
“A beautifully lit and stunningly filmed story, with an original and emotional mix of light and photography…The wonderful and intoxicating visual atmosphere…superbly enhanced the drama.”
Effects Picture Enhancement: Paul Staples
“This programme demonstrates gritty urban grading. Its "look" is very successful in drawing the viewer into a world that not many of us experience. The results succeed in implying a modern feel, without resorting to stereotypes.”
Multicamera Work: Paul Dugdale, Simon Pizey, Phil Lee & Cordelia Plunket
“Beautifully shot with innovative and superbly crafted framing, the coverage succeeded in catching the emotion of the audience.”
Lighting for Multicamera: Durham Marenghi, Tim Routledge, Sam Pattinson & Steve Nolan
“The lighting was awesomely imaginative and innovative, despite many restrictions. It supported the performance and looked good from every angle despite little rehearsal. It created a wonderful sense of scale, and stunning and tasteful use of projection mapping, making Buckingham Palace a performer in its own right.”
Sound Entertainment & Non Drama Productions: John Rogerson, Johnathan Rush & Alastair Sirkett
“The judges were knocked out by the stunning 3D documentary soundtrack with outstanding sound design and editing throughout. A wonderful, world class piece of work.”
Sound Drama: David Old, Chris Roberts, Richard Fordham & Martin Trevis
“…a brilliant soundtrack that captured the decade with specific audio signatures of the sounds of the city. This was an outstanding piece of craft with great attention to detail.”
Music Original Score: John Harle
“An excellent, challenging and original score that perfectly complements Freud’s powerful imagery.”
Music Original Title: Paul Thomson
“Our winner went the extra mile with this ambitious and classy sounding opening credits sequence, and fully deserves the award.”
Production Design Entertainment & Non Drama Productions: Peter Findley
“…an astonishing sequence of sets of family homes from the turn of the 20th Century through to the 1970s. The wonderful quality of its attention to detail was engaging and fun.”
Production Design Drama: David Roger
“…a haunting and visually beautiful production of a classic. The design both embraced the script, playing to its familiar themes, whilst displaying an original timeless quality and creating a perfect backdrop for the storytelling.”
Make Up Design Drama: Janet Horsfield
“Our winner achieved the impossible – making Dominic West unattractive in the guise of Fred West. She also transformed the entire cast and crowd back to rural Gloucester in the early 1990’s with sensitive and believable results.”
Make Up Design Entertainment & Non Drama Productions: Christine Cant
“Sheer creativity and madness. Our winner’s interpretation of Noel’s work was seamlessly integrated with the costume design. Great skill was demonstrated in the various make up techniques employed here, including bold and fantastic colouration.”
Graphic Design Titles: Rupert Ray
“The Judges were impressed by the simplicity of this title sequence which set the tone of the production for the audience. The concept was inspired by contemporary art of the period, and the team took this inspiration and blended it into an elegant title sequence.”
Graphic Design Trails & Packaging
“…epic in ambition, production and presentation. This trail was a crowning triumph that matched the nation’s expectation of the Olympics coverage this summer. The judges agreed that this was an outstanding piece of work.”
Graphic Design Programme Content Sequences: Victoria Bell, Owenna Griffiths, Daniel Clarke and Black North
“…a brilliant use of colourful creative graphics that gave pace and entertainment to the Newsround special. Black North and CBBC created a balance of fun with strong, deceptively simple animations that gave an insight into the experiences of autistic people.”
Tape & Film Editing Entertainment & Situation Comedy: Mark Lawrence
“The jury loved the editing in the winning programme. It is a show that is defined by its unique editing style – revelling in the out-takes and ad-libs that give an exciting and raw edge. The cutting feels fresh and treads a smart line between bringing the viewer in on the joke whilst never being self-conscious.”
Tape & Film Editing Documentary & Factual: Sacha Mirzoeff, Ollie Huddleston, Colette Hodges & Darren Flaxstone
“The jury was struck by the high level of craft and creativity invested in this film. The loving attention to detail stood out and created a beautifully paced, poetic and heart-breaking film.”
Tape & Film Editing Drama: Andrew Hulme
“A beautifully handled cut that confidently allowed space for the mesmeric performances and took the viewer into the dark heart of the story.”
Design & Craft Innovation: Production Team
“Danny Boyle’s brilliant and challenging creative vision for the Olympic Opening Ceremony has been lauded around the world. But to realise it and deliver it flawlessly in front of a live global TV audience of over a billion required an equally remarkable production team.
LOCOG’s Director of Ceremonies, Bill Morris and Head of Ceremonies, Martin Green, paired up Danny and his creative collaborators with a hand-picked, world class production team who pushed technology to and beyond its limits and were every bit as creative in the way they brought Danny’s ideas to reality. The world’s first “Pixel” screen, made up by every member of the audience having an LED paddle, was a great example of innovation based on creative need, as were the seven vast chimneys that emerged from the Green and Pleasant Land to symbolise the Pandemonium of the Industrial Revolution.
Executive Producers Catherine Ugwu, Stephen Daldry, Hamish Hamilton and Mark Fisher led the mostly British team whilst Piers Shepperd was Technical Director and Mik Auckland, Director of Operations. Patrick Woodroffe was in charge of lighting and Bobby Aitken was sound designer. Mark Tildesley and Suttirat Larlarb were show designers whilst Tahra Zafar led on costume. Justine Catterall was in charge of Audio/Visual with vital contributions from 59 Productions and Crystal Digital. Casting for over 15,000 volunteer and professional performers was led by Sara Ellen-Williams and Gilly Schofield.”
Lifetime Achievement Award: Keir & Louise Lusby
“… a husband and wife team, who ran the internationally renowned Shepperton-based prop and model-making company Keir Lusby Props from 1970 until 2011.
In the late 1960s, Louise worked as a designer at the BBC on programmes such as the first colour Jackanory and on Blue Peter, before leaving to set up the company, originally working with Keir from their home. For more than 40 years in the industry, they have found solutions to an amazing range of challenges and by combining their knowledge of materials and treatments with technical ingenuity, their creative background has complimented and enhanced the design briefs to which they work. The experience which they and their highly skilled staff have built up over the years has earned the admiration and respect of Production and Costume Designers in film and television. No matter how large or small the project, across all disciplines from Light Entertainment, Childrens’, News, Documentary and Drama through to feature films, no matter how late the information or how sketchy the brief, their work would always exceed expectations.
They have supplied award winning props to features films such as Harry Potter, James Bond, Pirates of the Caribbean, Indiana Jones, Gladiator, Gosford Park, and have worked on the TV productions Blackadder, Dad’s Army, Lovejoy, Last Of The Summer Wine, Catherine Tate and Strictly Come Dancing, to name but a few. They have been instrumental in setting an industry standard and are much appreciated and missed by Designers across the industry.”
“London 2012 was the first truly digital Olympic Games, and the BBC lived up to its promise that ‘audiences would never miss a moment’. Under the guidance of BBC Director, London 2012, Roger Mosey, and Director, Sport, Barbara Slater, the BBC delivered unprecedented coverage across multiple platforms, audiences were able to stay up to date wherever, whenever and however they wanted to and an incredible 52.1 million people watched the Games on the BBC.
New innovations in online and broadcast video, and ground-breaking integration of in-depth data, social features and personalisation from the BBC set a new digital standard led by the BBC’s Director of Future Media, Ralph Rivera.
Audiences had more choice than ever before, with access to? every Olympic event, sport and venue live, on-demand and interactive, with up to 24 live HD streams and 2,500 hours of coverage.
Audiences could watch wherever and whenever they wanted to, across four screens: PC, mobile, tablet and connected TVs (including smart TVs, games consoles and BBC Red Button) and the BBC also offered select highlights in 3D, and delivered the world’s first trials of Super Hi Vision.
There were 111 million requests for BBC Olympic video content across all their online platforms, more than double for any previous events – this included 12 million requests from mobiles. In addition every single Red Button stream received 100,000 viewers during the Games.”