tv-bay questions


Name & Title
Christopher Pitbladdo, Creative Director at DB Creative TV
Who are you? (about yourself and DB Creative)?
I'm an editor who's been cutting broadcast television documentaries and commercials since 1997. Having spent time living and working in London, I decided to make a lifestyle choice, and go back to my hometown of Edinburgh. DB Creative TV was formed a few years ago, when London production companies still wanted to work with me in Edinburgh. From there, things grew.
What do you do? What does DB Creative do?
We specialise in off/onlining long-form documentaries for a network audience.
Tell me a little about your previous experience, what you've worked on and with up to your current position?
I studied photography, then worked in print design for five years, using applications like Adobe Illustrator, Photoshop and Quark, but I always had a passion for the moving image. By sheer serendipity, I landed a job with a post-production facility, working in their design department. From there, I was able to jump onto their Avid AudioVision, Media Composer, Quantel Editbox, cameras and anything else that had a power switch on it! In terms of projects that I've made, I've edited Channel 4 documentaries on The Enfield Poltergeist, The Yorkshire Ripper Hoaxer, Princess Margaret's liaison with a London gangster, and of course the unforgettably-titled Robochick and The Bionic Boy. For the BBC, I've edited a Timewatch documentary on a respected Scottish businessman who fought another man to the death, with pistols, in The Last Duel. The man also happened to be his bank manager. In total, I've edited around eighty hours of network television.
What specific project(s) do you have in the works?
We're currently working on five one-hour docs for BBC One. It's an observational series called Motorway Cops, shot for the first time on HD. Camera directors shoot for three months with the Central Motorway Police Group in Birmingham, and we take the hundreds of hours of footage and weave it into five engaging, high-octane programmes.
What new technology are you working with?
We've recently upgraded our Avid Media Composer's to version 5.5, with 'PhraseFind'. This technology allows us to search through an entire project's rushes, searching for a spoken word, or sentence phonetically. The whole process is very useful, and hundreds of hours can be searched in just a few minutes.
We've also recently purchased BlackMagic's Ultrascope card, which we've been able to build very easily using a cheap PC and a spare monitor we had kicking around. Hey presto, we've got a very nice set of HD scopes that didn't cost the earth, and is being continually improved upon by BlackMagic Design. And in a world of crashing kit and rebooting, it's a remarkably stable piece of kit.
We're also currently mid-way through post-production on our first HD job for the BBC, with hundreds of hours of footage having been shot on Sony 700 XDCamHD cameras, and the whole job being offlined at full resolution.
What new products/technology are you looking forward to the most?
As a business that's located outside London, the Internet has been instrumental in our success, bringing us closer to our clients. We have the ability to have live remote viewings with Executive Producers, with them watching a sequence in London, as we play it out here in Edinburgh. Our ability to upload large files quickly will help build on our success, and I look forward to ever faster connections. I'll be very interested to see where we are in the next ten years.
During your career in post what was the biggest “turning point” into new technology?
For me, it was Avid's release of XPress DV, which gave people the ability to edit with the world's most popular editing interface, for a fraction of the cost of hardware-based kit that cost tens of thousands of pounds.
What is your favourite / least favourite things about working in post?
On the plus side, it's all about telling stories; I love being able to craft a story from a pile of clips that on their own don't say much.
What irritates me is when things crash, and give no explanation as to why. I can't stand the guesswork that follows; if only the kit told you what it was that went wrong, and gave you some pointers on how to fix it, that'd be swell. It's so often the case that everything goes belly-up at the end of a project, usually around 9pm the day before you're taking your wife away for a long weekend.
What gets you out of bed in the morning to go to work?
Knowing that the work we do here will educate and entertain others.

Tags: iss052 | blackmagic | db creative | Adobe Illustrator | Photoshop and Quark | media composer | phrasefind | ultrascope | sony 700 xdcamhd | xpress dv | avid | N/A
Contributing Author N/A

Read this article in the tv-bay digital magazine
Article Copyright tv-bay limited. All trademarks recognised.
Reproduction of the content strictly prohibited without written consent.

Related Interviews
  • Blackmagic Design at NAB 2012

    Blackmagic Design at NAB 2012

  • Blackmagic introduces Blackmagic RAW (BRAW) at IBC 2018

    Blackmagic introduces Blackmagic RAW (BRAW) at IBC 2018

  • Blackmagic Design Pocket Cinema Camera BMPCC 4K at IBC 2018

    Blackmagic Design Pocket Cinema Camera BMPCC 4K at IBC 2018

  • Blackmagic Pocket Cinema Camera 4K at NAB 2018

    Blackmagic Pocket Cinema Camera 4K at NAB 2018

  • Blackmagic ATEM Television Studio Pro 4K at NAB 2018

    Blackmagic ATEM Television Studio Pro 4K at NAB 2018

  • Blackmagic Davinci Resolve 15 at NAB 2018

    Blackmagic Davinci Resolve 15 at NAB 2018

  • Blackmagic Design Ultimatte at IBC 2017

    Blackmagic Design Ultimatte at IBC 2017

  • Blackmagic Design Resolve 14, ATEM, URSA Mini PRo and more from IBC 2017

    Blackmagic Design Resolve 14, ATEM, URSA Mini PRo and more from IBC 2017

  • ATEM TV Studio Pro HD from Blackmagic Design at NAB 2017

    ATEM TV Studio Pro HD from Blackmagic Design at NAB 2017

  • Davinci Resolve 14 with Fairlight from Blackmagic Design at NAB 2017

    Davinci Resolve 14 with Fairlight from Blackmagic Design at NAB 2017

  • Blackmagic Design at IBC 2016

    Blackmagic Design at IBC 2016

  • Blackmagic MultiView at IBC 2014

    Blackmagic MultiView at IBC 2014

  • Blackmagic and Fusion at IBC 2014

    Blackmagic and Fusion at IBC 2014

  • Blackmagic URSA at NAB 2014

    Blackmagic URSA at NAB 2014

  • Blackmagic Studio Camera at NAB 2014

    Blackmagic Studio Camera at NAB 2014

  • Cintel Film Scanner: Blackmagic Design at NAB 2014

    Cintel Film Scanner: Blackmagic Design at NAB 2014

  • Blackmagic Design on BroadcastShow LIVE at IBC 2013

    Blackmagic Design on BroadcastShow LIVE at IBC 2013

  • Blackmagic Design with the new ATEM Production Suite at IBC 2013

    Blackmagic Design with the new ATEM Production Suite at IBC 2013

  • Blackmagic Design: Products at NAB 2013

    Blackmagic Design: Products at NAB 2013

  • Blackmagic at IBC2011

    Blackmagic at IBC2011

  • Den Lennie considers what kit and cameras to buy for 2015

    Den Lennie considers what kit and cameras to buy for 2015

  • BeSteady on the Production Gear stand at BVE 2014

    BeSteady on the Production Gear stand at BVE 2014

  • Hireacamera at BVE 2014

    Hireacamera at BVE 2014

  • The tv-bay Tour in Manchester June 2014

    The tv-bay Tour in Manchester June 2014

  • The tv-bay Tour in London June 2014

    The tv-bay Tour in London June 2014

  • Behind the scenes of the Teradek booth on BroadcastShow LIVE at IBC 2013

    Behind the scenes of the Teradek booth on BroadcastShow LIVE at IBC 2013

  • Holdan on BroadcastShow Tour May 2013

    Holdan on BroadcastShow Tour May 2013

  • Official TOUR Video 2013

    Official TOUR Video 2013

  • Autodesk at NAB 2013

    Autodesk at NAB 2013

  • Featured Clip: Geoff Boyle comments on NAB 2012

    Featured Clip: Geoff Boyle comments on NAB 2012

  • Holdan and DaVinci at BVE North 2011

    Holdan and DaVinci at BVE North 2011

  • AMD at IBC2011

    AMD at IBC2011

  • Avid at BVE North 2011

    Avid at BVE North 2011

  • Nugen Audio at NAB 2014

    Nugen Audio at NAB 2014

  • Altered Images at BVE North 2011

    Altered Images at BVE North 2011

  • Datavideo on the Holdan stand at BVE 2013

    Datavideo on the Holdan stand at BVE 2013

  • Avid at IBC 2012 Part Two

    Avid at IBC 2012 Part Two

  • Avid at IBC 2012 Part One

    Avid at IBC 2012 Part One

  • Datavideo at IBC2011

    Datavideo at IBC2011

  • Avid at IBC2011

    Avid at IBC2011

  • Brainstorm Multimedia at IBC 2015

    Brainstorm Multimedia at IBC 2015

  • Sony Camcorders at BVE 2014

    Sony Camcorders at BVE 2014

  • Brainstorm on BroadcastShow LIVE at IBC 2013

    Brainstorm on BroadcastShow LIVE at IBC 2013

  • Aframe Cloud Video at IBC 2013

    Aframe Cloud Video at IBC 2013

  • SIS LIVE and their products ManPak and DriveForce at IBC 2013

    SIS LIVE and their products ManPak and DriveForce at IBC 2013

  • Yospace: Advert Insertion at NAB 2013

    Yospace: Advert Insertion at NAB 2013

  • AJA at BVE 2013

    AJA at BVE 2013

  • Marquis Broadcast at NAB 2012

    Marquis Broadcast at NAB 2012

  • Brainstorm at NAB 2012

    Brainstorm at NAB 2012

  • Editors Keys at ProVideo2011

    Editors Keys at ProVideo2011

  • Holdan and Teradek at BVE North 2011

    Holdan and Teradek at BVE North 2011

  • IPV at IBC2011

    IPV at IBC2011


Related Shows
  • Richard Payne talks about what guests saw on day three of IBC 2013

    Richard Payne talks about what guests saw on day three of IBC 2013


Articles
An Epiphany Moment
Peter Savage 2 I had been negotiating the sale of my company and had reached the really hard end of the bargain. We were close to agreeing the final sum after a lot of too-much-give-and-not-enough-take negotiation. The solicitors were calling me, keen for a deal. It had come down to one sticking point and, in my hard ball “I am the Wolf of Wall Street” guise, I wasn’t going to let it go. It would make a value difference of 1.5% on the total outcome. Not much, you might think, but I had already nearly fallen out with the solicitors over their fees and I was giving my advisors an extremely hard time because the corporate adviser couldn’t see how I had already given more than an inch and the buyers were taking more than a mile. I was not going to let them win.
Tags: iss134 | azule | finance | Peter Savage 2
Contributing Author Peter Savage 2 Click to read or download PDF
An Obituary to Timecode
Bruce Devlin - new A stoic and persistent character that stubbornly refused to change with the times, Timecode has finally passed on, but no-one has noticed. A long-lasting industry veteran, Timecode was brought into this world at an uncertain date in the late 1960s due to the needs of analogue tape workflows and the demand for synchronisation between audio and video devices. A joint activity between SMPTE and the EBU led to the work on Time and Control codes starting its journey to standardisation in the early 1970s.
Tags: iss134 | timecode | smpte | ebu | edit | Bruce Devlin - new
Contributing Author Bruce Devlin - new Click to read
Giving Welsh sport a global audience
Adam Amor From the Ospreys Rugby Union team, to the Football Association of Wales, as well as national cycling, swimming and boxing coverage, Port Talbot based Buffoon Film and Media has been heavily involved in putting Welsh sports on the world stage.
Tags: iss134 | blackmagic | atem | buffoon | micro studio camera | Adam Amor
Contributing Author Adam Amor Click to read or download PDF
State of the Nation - November 2018
Dick Hobbs - new There is an interesting seminar called Size Matters at the KitPlus Show – organised by the publishers of this fine magazine – at MediaCityUK in Salford on 6 November. It’s a talk by cinematographer Alistair Chapman on the way that camera technology is changing, and in particular the size of the electronic device which creates the image is growing.
Tags: iss134 | cmos | 35mm | AJA | Arri | Blackmagic | Canon | Datavideo | GoPro | Grass Valley | Hitachi | Ikegami | JVC | Kinefinity | Nikon | Panasonic | Red | Sony | jpeg2000 | Dick Hobbs - new
Contributing Author Dick Hobbs - new Click to read or download PDF
University and Mental Health
Rhiannon Jenkins University study and mental health has been in the media quite a bit over the last year, and I’m sure there are many people wondering what is going on? The issues are complex, and I suppose the focus of employability off the back of a degree course has raised the stress stakes for a lot of young people. I’m only qualified to talk about this from my perspective, and my story began when I joined a course not knowing I had a mental health condition.
Tags: iss134 | portsmouth uni | mental health | student | tvfutures | Rhiannon Jenkins
Contributing Author Rhiannon Jenkins Click to read or download PDF