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SECTION ‘Ask the Expert’ continued operator in the studio, which is played directly from the Avid across a fibre connection to the studio. Once all of the content is delivered, we then prepare for the recording of the show. As there are over night edits cutting VTs, we live capture the show into Avid Symphony and also ingest interviews and behind the scenes footage from camera cards, which come from the studio throughout the day. Once the live show is finished, I arrange deliverables for various recipients. At that point I call it a night and leave the overnight edit assistants to support the two overnight edits and ingest the Results Show ready for editing first thing on a Sunday morning. What timeframes are you working to during the week and during the live show? Strictly Come Dancing relies heavily on the training schedules of the celebrities taking part in the series. The show’s VTs go through a number of incarnations depending on how the week’s training is going. They get the final sign off on Friday evening and are finished on Saturday (the day of Transmission). As all of the edit suites BBC S&PP provide are Avid Symphony suites, all of the edits are carried out in HD. Although there are ‘cutting’ and ‘finishing’ suites, all of the rooms are spec’d the same - meaning that more experienced editors can finish VTs as they go along. As everything is edited in HD, there’s no need for lengthy conforms. What have you learnt about post working on such a high demand show like Strictly? Working on a high volume and fast turn-around show like Strictly has taught me the importance of reliability and resilience. Both for the people working on the show and the equipment we use. At the core of our edit facility is a 90TB Avid ISIS | 7000 which provides us with reliable and flexible storage. All of the equipment we use has resilience factored into it, from the Nearline and Cinegy storage to the assistants Avid’s and decks, to the edit suites. Any down time would have serious knock on effects to the output of the show, so reliability is key. 50 | KITPLUS - THE TV-BAY MAGAZINE: ISSUE 109 JANUARY 2016 How does the BBC S&PP workflow enable you to overcome these challenges? Our workflow has adopted various resilient systems in order to ensure that we haven’t put all of our eggs in one basket. We have multiple Nearline storage systems, we have invested in the most resilient and reliable Avid storage and we have a dedicated team of staff, from the data wranglers, through the edit assistants, right the way through to the engineering team. Over the years, we have built up strong relations with suppliers who can remedy issues at short notice, whether it’s delivering spare parts or offering technical support or the installation of full edit suites. We work with a core team of Freelance editors who have worked on the show for many years in some cases. Having the same freelance staff return each series means that new editors can learn the workflow from those who’ve done it before, allowing them to settle in quickly and get up to speed for the fast turnaround nature of the show. Are there any bespoke or key elements to the post workflow that you’re most proud of and make the process easier? There are many small nuances to the workflow that add to it running smoothly, from the unique ‘Dropspot’ XML for backing up rushes to the automatic upload of VT and training material to MediaSilo for review. Being based in a building with connectivity to both the main show and the SCD: It Take Two studios (spin off show) means that we can truly work in a fast turn-around environment, delivering content down to the wire. This means that the VT content can be more adventurous, for example, shooting behind the scenes VTs on the day of transmission. Also, working at HD resolution and in up-to-date and high spec’d edit suites means that the editors can confidently deliver material.