Tag Archives: Television

Hong Kong’s Samuel Lam gives musical life to new Chinese television series

Samuel Lam was born with a large birthmark on the right side of his face and spent much of his childhood alone because of it. Growing up in Hong Kong, it was hard for him, being a loner, but when he was 12 years of age, his sister bought him a guitar and his whole life changed. Music became a way to express himself, changing his personality and giving him something to connect with others.

Now, Lam is an industry leading composer and orchestrator is his home country and abroad. He has worked on multi-million-dollar blockbusters, such as Crazy Alien, to award-winning films like Mommy’s Girl. He has scored dozens of short films, and has many exciting projects on the way, including Paramount’s Playing with Fire, starring John Cena, Judy Greer and Keegan-Michael Key, directed by Andy Fickman, and Detective Chinatown, a 12 episode web-series, produced and written by Chen Sicheng, the director of the feature film of the same name, which generated over $600 million USD at the box office.

Lam is known all over the world for his talent, and recently worked on the highly anticipated Chinese series Paratrooper Spirit. The show is about a team of paratroopers with actual combat as their training ground, as they push hard to level up their fighting abilities and complete different missions. Set in the foreground of military reform, the story follows military men like Zhang Qi and Qi Xiao Tian. To develop an air force that can compete in the global stage, a special team called Guo Gai Tou has gathered. After the initial adjustment period, Guo Gai Tou began fighting wars in the North and South and challenging greater enemies. Warriors from Guo Gai Tou who are dispatched to other teams become aces in the field.

“It is a good way to increase understanding and knowledge about the military through the influence of media and entertainment. This show has a really interesting military service theme, the paratrooper,” said Lam.

Working on a series is far different than a feature film, and Lam was eager to work on his first television show with Paratrooper Spirit and working in television in China differs greatly from America. Rather than getting each episode weekly, as the U.S. does things, Lam got every episode of the show at once. Although there is a greater time crunch with this method, Lam likes knowing how the entire story is developed to orchestrate the score accordingly. He was given all 35 episodes of the season to work on and began by watching each one. Then he and his team started developing essential thematic materials such as main theme and melodies for characters that worked with each and every episode and helped to tell the story.

“It is very challenging working on a TV Show. Because of the large amount of content, you have to be very organized, and work at a super-fast pace. I had to arrange all kinds of music genres, from action orchestra, to rock and romantic pop song, and that was really fun,” said Lam.

It takes an extremely broad skill-set to orchestrate for a television show, and Lam possesses just that. He arranged hundreds of minutes of music for Paratrooper Spirit that will continue to be played over the show’s run, with millions hearing his work, and he couldn’t be more excited.

Paratrooper Spirit is currently being promoted in China and will be released in September 2019 on a major television network in the country. Be sure to keep an eye out for it.

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Compositor Ranran Meng takes audiences back to 1970s NYC for HBO’s ‘The Deuce’

For Ranran Meng, compositing is like decorating a building; as the final step of the filmmaking process, her role as a compositor, is to make a scene look complete and beautiful, just as an interior decorator would a room. She makes the footage look the best it can possibly look, ready for audiences all over the world to be taken in by the story, transported to different places and time, and to be purely entertained.

Meng has put her extraordinary touch on many of the world’s most popular recent films and television shows. These include Netflix’s hit rom-com Set it Up, Amazon’s award-winning television series The Marvelous Mrs. Maisel, and the Emmy-nominated film Fahrenheit 451, to name a few. Her talents extend to commercials, collaborating with iconic brands like Microsoft, as well as virtual reality, having worked on the Harry Potter franchise award-winning video game The Fantastic Beasts and Where to Find Them VR Experience in 2018.

Last year, Meng also worked on the second season of HBO’s Golden Globe nominated series The Deuce, starring James Franco and Maggie Gyllenhaal. Based in 1970s New York, this show gives a raw and gritty portrayal of the prostitution business that was so publicly executed at that time. As a result of police crack-down, the characters are forced to venture towards relatively safer and more discrete forms of the same work.

Meng, already a fan of the show’s first season, was happy to use her talents on such an enticing story, even if it meant she would be exposed to some spoilers.

I have not watched any show talk about the porn industry before, so this was a really unique project to be a part of. The story involves the government and police corruption, the violence of the drug epidemic and the real-estate booms and busts that coincided with the change. It really allows viewers to imagine what 1970s New York City was like,” she said. “I love the old stories and the older looking sets, it’s like seeing something from the past, even if it is not a true story. It gives an idea of what the old society was like, making it real for audiences.”

When working on The Deuce, Meng had a tremendous amount of responsibilities, making sure the VFX would really allow audiences to transport back in time to the 1970s without being noticeable. To do this, she used compositing techniques like 2D tracking, 3D tracking, roto and paint skills. In the original footage, there were modern things in the background that wouldn’t work with the time period, so she used her software to replace this with older images, making every detail work for 70s New York City.

These small details included erasing modern road stripes or signals and replacing them with the older styles, which meant she had to 3D track the scene and simulate a 3D scene of it, and then use paint techniques to paint out a newer, cleaner, no-stripes road image. She would then project the new painted road image on the 3D space and bring in a 2D plate, and then add new render stripes footage. Finally, after bringing back the cars, she used 2D tracking and roto/paint skills to do the motion work and to simulate the exact same traffic lights and shadows to bring them back to the scene. This made the scenes still have the same shooting elements, but with a perfect, older environment. Viewers may not notice things like the road signals in the background of a dramatic scene, but they would notice them if they were modernized, which is why Meng takes such care and pride in her job.

“This project is the story about the 1970s in New York, so it is interesting to make a modern city into an old-time city. I enjoyed the process of seeing how the city changed. It let me know how accurate the scene should be for output, as even a little light sign should be changed back to that period. It really magnified my attention to detail,” said Meng.

Meng’s work allowed The Deuce to be more believable and precise, allowing viewers to have the ideal entertainment experience from the couch of their homes. She used advanced high compositing techniques to achieve photoreal effects, making her indispensable to putting together such a high-end television show.

“I am proud of myself to have been a part of this great project. The post-production did a very good job and presented a real 1970s New York City to the audiences. I had a good experience working with my team and I am very much looking forward to the show’s next season,” she concluded.

The Deuce will return later this year on HBO.

Canada’s Helena-Alexis Seymour plays her dream role in Amazon’s hit series

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Helena-Alexis Seymour

Helena-Alexis Seymour grew up on stage, never having an issue with being in the spotlight, literally. Growing up in the small town of Cornwall, Ontario, Canada, Seymour danced, did beauty pageants, and modeled. She loved the way she could express her creativity through such methods of performing. As she grew and started a successful modeling career, she realized another passion: acting. After booking her first commercial at only nine years old, she knew what her calling was.

“The more I acted, the more I realized that the artform was about more than me being creative, it was about how I was able to make the audience feel. Having someone watch your performance and be moved by it because they can relate, it reassures them that they are not alone. We all want to feel like we aren’t alone in this world so to be able to do that for someone makes it all worthwhile,” she said.

Now, millions around the world have seen Seymour in some of their favorite films and television shows. She is known for films like the blockbuster xXx: Return of Xander Cage starring Vin Diesel, as well as the multiple Academy Award winning film Birdman or (The Unexpected Virtue of Ignorance). The highlight of her esteemed career however, began last year when she was cast in the title role in Amazon’s award-winning original series Chronicles of Jessica Wu.

“Helena is a woman that exudes positive energy, so naturally she brightens up any room she steps in. She’s hardworking, humble, kind and so down to earth, which allowed for us to not only create great moments on camera, but many memorable moments off camera. It was a very rewarding experience and I hope it’s the first project of many that we get to work on together,” said Jasmine Hester, Seymour’s co-star on the show.

Chronicles of Jessica Wu is a story about a young girl on the Autism spectrum who has mastered martial arts. She becomes a Hero in her city and takes down some of the most ruthless villains in Los Angeles. Jessica’s genius ability and martial arts helps her become the most unique and fascinating Superhero of our time. Chronicles of Jessica Wu is a fun, action-packed, and exciting series for the entire family.

“I love how the story showed a strong, bi-racial, woman on the autistic spectrum living a very normal life. She is highly functional and lives quite like everyone else. Bringing awareness to the autism spectrum is something that we all need to experience. Being more inclusive of each other and more loving to each other. Everyone in this world is different and going through something so the more we can open our minds to it, the more compassionate as a whole we become,” said Seymour.

The character of Jessica Wu is driven, focused, ambitious, strong yet quite shy, and vulnerable all at the same time. She is loyal and expects the same loyalty in return. She believes her autism is a strength and uses it to her advantage. She is an intellectual genius and is always two steps ahead in her mind. She uses her amazing mathematical abilities to solve certain issues in her life as well as in her fighting when acting as the superhero named Equation.

“Helena-Alexis is a complete joy to work with. From her dedication, preparation, and delivery performances on and off set, she is the total package. Helena captures the true essence of an individual not defined by any disabilities or anything else. You will surely see how she brings the character Jessica Wu to a full circle of life. Her preparation and dedication to make our show the very best and to reach its maximum potential is truly appreciated. We couldn’t be more pleased and prouder of her work. Seriously, her performance on this show is must see TV,” said Brandon Larkins, Executive Producer.

Stepping into the show during its second season and taking over for the actress that played Jessica Wu in the show’s first season, Seymour had her work cut out for her; she had to honor a character that had already been established in fans’ minds while still making it her own. To do so, she extensively researched autism and what that would mean for her character. She had a great time recreating the character and experiencing life through her eyes. Seymour discovered what Jessica’s values were, what her strengths and weaknesses were, the type of music she listens to, the type of guy she crushes on and even what zodiac sign she was. With all that knowledge, she used it to mold Jessica Wu’s personality, and essentially, her soul.  Luckily, Seymour has a kickboxing/martial arts background, and was able to use those skills when playing Jessica.

I loved everything about working on this. I loved playing a double life as Jessica Wu and Equation,” said Seymour. “I loved working on set with such inspiring and grounded cast and crew members. When you are surrounded by love, light and greatness you naturally will vibrate to that frequency, so I am so grateful that every day was positive and that we were free to create great art together.”

The Chronicles of Jessica Wu is truly fun for the entire family. Seymour is excited by the show’s success already, and for the future seasons to come. She knows the importance of shows like this and is happy to be portraying a such a unique character that the world needs to see.

“This is only the beginning of major change in the television and film industry. We need more ethnic superheroes on the big and small screen. The world is full of different people with different backgrounds. We must continue to open our eyes to them and the gifts that they have to offer not only to this generation but the younger generations to come. It is up to us to show the youth that they matter and that there is someone just like them on the screen who is strong, capable and worthy. Being able to do that for a young child whether with autism or not means that I have done my job,” she concluded.

Be sure to check out the second season of Chronicles of Jessica Wu on Amazon when it is released on April 2nd.

Chandra daCosta talks love of producing and finding the best stories

Growing up, Chandra daCosta was inspired watching her uncle on television, an actor in McIver. Though his role was a small one, that made little difference to her. The moment she saw him on screen, she knew she wanted to be part of creating TV content. When watching a movie, she would fixate on the details, watching it over and over again, studying it. She understood that filmmaking was more than just entertaining. It was a way to share a part of herself with the masses, and she set her sights on producing.

DaCosta has worked with top production companies across Canada. She has worked on popular series like A Wedding and a Murder, Biggest and Baddest, and The Stanley Show and most recently docu-series for Lifetime.  She has collaborated with some of the industry’s finest and her work has been seen on worldwide networks like Discovery Channel, and BBC.

“As a kid, I would always beg my parents to take me to the movie theatre. I loved the glam of it, the event of it, the popcorn, the lights, the BIG screens. I knew I wanted to live in this world somehow, some way,” she said.

One of daCosta’s highlights on her resume is her work with Dale Wolfe Productions. She currently has two shows in development with Wolfe, Fish Brokers and Water ShockFish Brokers is a television series that follows the process of catching, delivering and serving sustainable, fresh seafood to high profile restaurants – “from ship to chef” – on a daily basis. Based on the book Water Rights in Southeast Asia and India by author Ross Michael Pink and published by internationally known publisher, Palgrave Macmillan, Water Shock is a documentary series exploring the paramount human rights issue of our time: clean drinking water.

“Both projects have extremely sensitive subject matter, Water Shock’s message and story are imperative, and I am proud to be working on something that will hopefully have an impact and bring awareness to a very serious issue. The shortage of water is already a reality to so many and yet, here in North America we continue on like the water will last forever,” said daCosta. “Fish Brokers is extremely exciting to work on because everyone loves a good food show! And although this isn’t just about food, that’s a part of it. I am excited to get out there with the fishermen and immerse myself into their daily life. These fishermen are not massive operations, which makes it a personal experience. Further, they are very firm in their desire to fish sustainably and ensure their product is about sustainable seafood.  The idea of following the entire process from fish to dish is something I’m passionate about.”

While making Water Shock, Wolfe relies heavily on daCosta to source and secure hosting talent and utilize her contacts for Directors, cinematographers etc. Through her personal and professional relationships, she has many high-profile colleagues she can approach. This is what makes her so good at what she does; the people she works with always want to work with her again. She also works hard on the research side of the show, making sure there is always a primary and secondary story for each episode that can captivate the audience.

“Chandra is the consummate professional. She has the ability to pull together various aspects of a production and ensure it is running smoothly. Her most powerful quality is her networking skills and connections with high caliber industry professionals and the ability to bring people together,” said Dale Wolfe, Producer and Writer.

DaCosta has also been a driving force behind the development of Fish Brokers. Through the casting and the pre-interviews, she has found several companies to come on board for the show. On top of finding funding and distribution, daCosta continues to work with the cast, and source footage for the pilot episode. She continues to look for new and fresh angles, which is why fishermen are eager to participate in telling their stories.

“I worked on various development projects with Chandra. As a development executive at a top tier Vancouver production company, I often collaborated with Chandra on new ideas and pitches for broadcasters. Chandra is fantastic to work with. She was one of the few people I worked with in the television industry who not only was a pleasure to work with but also able to research, network, write and produce show ideas all at once. She is truly a triple (and beyond) threat,” said Nicole Lawson of Force Four Entertainment.

Fish Brokers has changed and evolved over time. From Fish Brokers, to Fish to Dish, to Ship to Chef and back to Fish Brokers, whatever the title, the show continues to impress industry professionals and broadcast executives.

“Working on these two shows has been so much fun. I really have a chance to dive into the different worlds and meet characters. Although both shows are about sustainability, one has a “fun” subject (food) and the other more serious (water shortages worldwide). The food aspect is always fun because part of the research is testing some of the finished product. And the chef’s love watching people marvel over their creation,” daCosta described. “The water shortage is dire, and it’s been really hard to even get myself to acknowledge the severity of our planet’s water shortages. While doing research and through the book, it’s more important than ever to get this story out there. Looking for the right host is key and so right now, I’m really focusing on the right fit for cast and crew.”

Be sure to keep an eye out for both Fish Brokers and Water Shock to see just what daCosta is capable of.

Graphic Designer Bruna Imai honors veterans with award-winning SYFY campaign

As a graphic designer, Bruna Imai takes a simple idea and turns it into a visual masterpiece. She finds the aesthetic that best suits each project and the most appropriate way to communicate a message with all its potential.

“All kinds of art, music, literature, film, dance, etc. – has its own language, and the role of the designer is to interpret these arts and translate one “language” to another. Any art is about telling a story, a message. I’m a storyteller specialized in the visual language, and I use elements like illustrations, photographs, objects, movies, animation, motion and so on to tell a story,” she said.

It is exactly this attitude toward her craft that has made Imai an industry leading graphic designer. She is known for her contributions to several acclaimed campaigns, including IFC’s “No Brainer” commercial spot, Coca-Cola’s “Coke On” commercial, FIFA’s Women’s World Cup on Fox Sports, and STATE Design’s Statement. Her work has gone on to receive several awards from the most prestigious advertising agencies and awards around the world.

Another award-winning project for Imai was the 2015 SYFY Veteran’s Day campaign. The project was about a holiday spot for SYFY Network to produce a heartfelt ‘Thank You’ to the nation’s veterans. In addition to appearing on televisions all over the country, Imai’s work was also seen online. Parts of the animation were used as the opening and ending of “thank you” videos, featured in many motion graphics related sites.

Imai’s graphic design work led the project to immense success. Not only was it popular with viewers and online, but it took home several prestigious advertising awards. The project won the Channel Holiday/Special Event Spot at PromaxDBA 2016, the most important awards in entertainment marketing and design.

“I am still so happy this campaign was so successful, especially because it shows that all the trust that was placed in me was deserved. I was happy not only with the reaction from the public, but also happy about my performance, knowing that I could make something really interesting,” she said.

Imai had two main roles for this project, the storyboard, which involved transforming the script into the first sketches, and the layout, which she was solely responsible for. The project follows a color palette based on the United States flag and yellow light to add a warmth tone to the message. The entire process was done digitally in Photoshop. Imai received the script from the studio with some images they would like to use – the veterans carrying the flag, the eagle flying and a field of flags, plus some typography references of types and illustrations mixed up. She began sketching thumbnail studies and soon, the storyboard was ready.

As they were working on a tight timeline, Imai came up with the pivotal idea of most of the animation efforts into bold transitions and keeping the layouts simple but captivating in most scenes. She conceptualized the designs, especially the transitions in the theme of “freedom”, representing it with elements of “air”, which audiences can see in the flight of an eagle, the movement of the flag and leaves being carried by the wind. The illustrations were finished with a broad brush and sketchy edges to emphasize this movement and flow, making the animation finalization process easier.

“This project was a very challenging one and wouldn’t be possible to do on time without the studio’s trust in my work, giving me creative freedom. I loved working on a project that I could use my full potential as a designer. Also, the communication with the studio during the project was excellent, and is what made me feel like being part of the team. It would have been impossible to deliver this result without our good relationship,” she said.

As the sole designer for the project, Imai was vital to the Veteran’s Day campaign’s success. She expedited the process, considering the design and transitions even in the process of storyboarding. Because of her talents as a storyboard artist, she also saved the company money in doing multiple roles. Her versatility and vast understanding of her craft is unparalleled. For those looking to follow in her footsteps, she offers encouraging words of wisdom.

“There is a tendency for students to focus on learning the software and tools, but it is essential to study academic subjects of art and design to be able to do a solid project with cohesion. When you study theory, you learn how to “see” images and references. It is a study of how to analyze critically and technically a designer’s choice,” she advised. “Also, I would say to feed on various types of references, not just graphic design. There are so many languages of art in so many senses! Music, dance, photography, movies, sculpture, literature, gastronomy, performing, folk art, everyday experiences and so on. Just as languages are translatable from one to another, all kinds of artistic expression and experiences are translatable between them. We can see a great example illustrating this “translation” in the film Ratatouille, in the part in which the characters describe the flavors of the strawberry and cheese in graphical forms. I believe that it’s essential to be the professional who can see and navigate between different languages, have a fresh mind that continues to play and to experiment.”

Editor Roma Kong shows of beauty of nail art with iconic Disney characters

Editing, to Roma Kong, is like a simultaneous combination of surgery and magic. When she gets footage, she reviews the script and gets an idea for the direction of the story. That is when she starts cutting, splicing things together, and moving things around, until every part is put together, telling a clear story; that is the surgical aspect. When it comes to the magic, Kong believes that part comes in two ways. The first being that each story must evoke a certain feeling in the viewer, so it’s not only cutting and putting things together, but also adding emotion to it, whether this be through the music, the rhythm, the speed of the cuts, etc. The second, more often than not, is transforming the footage that may not tell the story they want and making it what they need, without any reshoots or work from the crew. That is where the real work for a film editor comes into play, and that is when Kong truly shines.

Born and raised in Lima Peru, the in-demand editor has impressed the masses with her work. She often collaborates with renowned production companies like Nickelodeon, with work on their online video series BTS Nickelodeon and Inside Nick, as well as Disney.

With Disney, Kong edited DIY Disney, an online series that allowed audiences around the world to see just what she is capable of. The videos amassed over 11 million views, and featured various crafts that viewers could partake in, offering simple and fun instructions using Disney films and characters. She also created another video titled “Disney California Adventure Food Crawl”, effectively launching the Disney Eats brand. She is quite the formidable editor.

“I would say my style of editing is very fluid, dynamic and fun. As a filmmaker, I strive to entertain the audience, so when I edit, telling a good entertaining story is the priority. I also love for cuts to be seamless, so I pay close attention to movement and try to make really smooth transitions between shots, even when making pop videos. I also work very fast which is something the people I’ve worked with have always appreciated,” said Kong.

Kong has a close working relationship with both Nickelodeon and Disney and is often the companies’ first editing choice when they have an innovative new online project to pursue. In 2017, Kong continued her work with Disney on their TIPS Disney series, featuring different videos showing the intricate work behind nail art, using some of Disney’s most celebrated productions.

“I think these videos really help bring more attention to a form of art many don’t really consider art. They allow the audience to truly appreciate the intricacy of the work these artists do. They give Disney fans great ideas on how to show their love for their favorite characters in very stylish ways, and they inspire other artists to create their own version,” said Kong.

The videos feature many beloved Disney film and television productions, as well as iconic characters. These include High School Musical, Mickey and Minnie Mouse, Moana, Coco, Beauty and the Beast, and more. They were published through Disney’s expansive social media platforms, including YouTube, Facebook, and Instagram. Together, they gathered over 7.6 million views.

“Seeing the comments from the audience on the videos and realizing how much they love them is heartwarming. Seeing people post about their own versions of what we showed them, is amazing. Reminds you that you’re not only making things for people to watch and forget about, people actually truly love these movies and characters and love showing their love for them and your video can persuade them to make something that they hadn’t thought about before,” said Kong.

Kong’s talent as an editor is evident in the TIPS Disney videos. She is very good at editing with music beats and for Disney Style, the Digital Brand that Tips Disney falls under. Her colleagues and her audience enjoyed the rhythm Kong put into the videos and how, by doing a very musical type of editing, made them fun and entertaining to watch. Because she has a very good eye for art and style, she knew exactly what the best shots were and what made the art look the most stylish and vibrant it possibly could. She understood the vibe of the brand very quickly and knew exactly what the executives wanted before they even knew themselves.

“I loved watching the intricate process of nail art in such a detailed way. I was constantly mesmerized by how hard it is to do, and I found myself with a lot more respect for nail artists. It’s such a great art and they’re all so talented. And also, being able to play with scenes from some of my favorite movies and use them to create something new was so much fun,” said Kong.

Kong worked on TIPS Disney from October 2017 to December 2017. It was an amazing experience for the editor. The Disney Style brand is her favorite out of all the Disney Digital brands. Making multiple videos for it was a great opportunity. The audience loves their content and as a result, the brand has a lot of engagement, and as an editor, making content that a lot of people would appreciate, and love was something that truly made the experience for Kong. It’s a fun brand to work for and it fits her editing style perfectly.

“Disney is the holy grail of the entertainment industry. Working for them is like hitting the jackpot of companies you can put on your resume. Being able to do that and have a Walt Disney Company ID with your picture on it, walking into the Studios with no problem at all is quite the dream come true,” Kong concluded.

Romaine Waite takes audiences back in time in ‘Frankie Drake Mysteries’

Exploration and research. Those are the two words that come to mind when Canada’s Romaine Waite is asked to describe what he does as an actor. He is required to research humanity and explore every character he plays. As an actor, he wears many different hats depending on the subject of a project. At the surface it is entertainment, but in a way, for Waite, it is therapy.

“I believe as an actor I’m an interpreter of words and ideas manifested through physicality and emotion. We’re also guides into unknown worlds and situations. At the highest level, we are responsible for bringing people together to experience a common idea or emotion,” he said.

Audiences around the world would recognize Waite immediately from his recurring role in the iconic television series Star Trek: Discovery. He has also starred in many successful projects, such as The Mist, and Antisocial. Earlier this year, Canadian viewers also got to see him on the small screen in the hit show Frankie Drake Mysteries.

Frankie Drake Mysteries is a hit television series on the Canadian network CBC. It premiered last November and is currently filming its second season. The show follows Toronto’s only female private detective in the 1920s as she takes on the cases the police don’t want or can’t handle. Along with her partner Trudy, Frankie and the Drake Detective Agency take on cases of all shapes and sizes. From airplanes and booze running to American G-men, Communists and union busters, Frankie’s fearless sense of adventure gets her into all kinds of trouble, but she always manages to find her way out.

“I like that the story is centered around women of the ‘20s. I don’t think many people are aware of the accomplishments and contributions women have made in that time period. It’s amazing to showcase the impact that women have had, but also showing women in a strong positive light, not just for inclusion in the history books but to hopefully inspire young women that watch the show. I think representation is of the utmost importance in media,” said Waite.

In the show, Waite plays Bill Peters. Bill is a genuine man, and his intentions are as pure as they come. He has a simple job, goes to church and tries his best to help with investigations when asked by Trudy Clarke.

From the first season, the groundwork was laid for a potential romance to blossom between Trudy and Bill in addition to providing crucial information for investigations in the show. Waite played the part perfectly, establishing the relationship between the two characters. Through this relationship, audiences get to see a well-rounded character in Trudy.

“The production company for this series, has an amazing reputation of putting together great shows, but more importantly it was the premise of the show. Centred around two amazing women, I wanted to be a part of the narrative that showcases women in a positive manner. I think this show can be empowering for young women,” said Waite.

After working with the director on a previous show, Murdoch Mysteries, Waite was selected for the role of Bill without an audition as they knew he was ideal for the part. The character has now become pivotal for the series and will be featured once again in the shows second season.

Working on the show has been a wonderful experience for Waite. The actor has had a lot of freedom to explore the character and how he interacts in the world. Although viewers don’t know too much about Bill Peters yet, they can see a bit of who he is by the way he treats Trudy. He’s compassionate, devoted, honest, and even at times naive. Playing such a role was natural for Waite, as he found himself to be very similar to Bill in many aspects.

Once Waite researched about the time period, he found it easy to embody the character. This was made easier by the outstanding production design, with the set looking very much like 1920’s Toronto. The costumes fit right in with the time period, as did the props, and Waite describes the experience as being like a “mini history lesson.” Walking around the sets, seeing the detailed work, he found it easy to be inspired.

I’m always proud of great Canadian content. There is sometimes this notion that good shows only come from the other side of the border, but it’s certainly not the case with this one. From the creators to the leading cast, I think the show is successful on so many levels. But the most relevant to conversations society is having now, is portrayal of independent, forward-thinking women. I think this show contributes to that narrative in a fresh way. I am happy that I can be included in telling this story. My hope is that a young girl watching this show will feel inspired to be who she wants to be in any capacity,” Waite concluded.

Be sure to check out Waite’s next endeavours, Netflix’s new holiday feature The Christmas Calendar and the upcoming indie film Salvage.

Canada’s Dan Cazzola living his dream with Endemol Shine Group

When Dan Cazzola first stepped onto a studio, he felt a rush like no other. It was at that moment when he fell in love with television production, seeing what a vast world it truly is. He finds it energetic and exciting, his passion for what he does translates directly to his work. As the Vice President of International Development for Endemol Shine North America, he is living the dream he’s had since he was only a child and has had a career that many aspire towards.

Originally from the small suburb of Ancaster, Ontario, Cazzola has travelled the world doing what he loves. Working with Endemol Shine, one of the world’s largest production companies, for the past six years, he has had a vast array of experiences working on internationally successful television shows, such as MasterChef, Big Brother,Minute To Win It and Deal Or No Deal.

“Working with Dan is always a pleasure. Not only does he ensure a healthy working relationship with all of his employees and colleagues, but he is extremely creative. Such a combination creates extremely high morale on every team he is a part of, despite the stresses that come along with such a fast-paced industry. Dan is everything you would want as a leader, and the tremendous results of his work are direct reflections of this,” said Rebecca De Young, Creative Director, Endemol Shine China.

One of the many highlights of Cazzola’s esteemed career came when he first started working with Endemol Shine, back at Shine Group in London. Shine Group was an immense company, with operations in over 10 countries and a large footprint in the United Kingdom. In every territory, each production company had started from scratch and they were doing everything they could to get to number one above all competitors. To do this, each region needed to be on the same path, working at the same speed, achieving the same goals. As the Global Development Executive of Shine Group at the time, Cazzola was the link between all these companies. He made sure to keep all priorities in line and made every connection happen with incredible speed. He brought new ideas and strategies into Shine and helped to map out the integration of the creative business into the newly formed Endemol Shine Group when Endemol and Shine Group merged.

“At Shine Group, I was working with the best creatives in the business. Shine had grown from nothing to one of the UK’s largest production companies in just over five years. It was a huge company but felt small and nimble and everyone in the company felt like they were responsible for its growth and success. The company had an amazing culture and to this day I haven’t found a more talented group of people in one place,” Cazzola described. “I was learning new things and new territories and new markets every day. At any moment we could sell a show to Thailand, or Brazil or Norway and we’d have to make sure that the show fit that market. I learned about all the broadcasters, the key talent in each territory and what makes everyone tick.”

Cazzola first started with Shine Group when he produced MasterChef. Having worked on the show, he knew a fair amount of the executives that worked on the corporate and international side at Shine Group. When the opportunity arose to transition from content producing to a corporate look, he felt he had what it took to make the transition, and he was right.

Cazzola became the creative face of the company during his years at Shine Group. He consistently found the best way to make all of the production companies work together harmoniously. He worked to instill trust, both in him and the company as a whole. From there, he would find the strongest areas to focus the company’s efforts. He made decisions based on both fact and instincts, which with his innate talent and years of experience proved to almost always be fruitful. He always trusted his gut when it came to picking out the next big thing, talking about ten shows in a day but instantly deciding what would become the next global hit. It was this rush that drove Cazzola, and why he looks back at his time at Shine Group so fondly.

“The Shine Group years were the glory years.  I am very proud to have been a part of Shine Group and what was achieved.  The company did in five years what other TV companies couldn’t do in 10 or 20. I can see the results of my work on screen in countries all over the world. And when I see that one of our shows has sold to another territory or won an award I always feel proud,” he concluded.

Ireland’s Jonathon Ridgard talks producing ‘America’s Got Talent’ and working alongside his idols

Hailing from Galway, Ireland, Jonathon Ridgard has come a long way both geographically and figuratively since he received his first camcorder at just eight years old. Even at such a young age, he had a passion that was more than just a childhood hobby. Now, Ridgard is a renowned supervising producer in Hollywood, and is responsible for bringing some of your favorite shows to the small screen.

“My parents recently found old home videos where I am running around interviewing everyone in the family. My brother was sick in the hospital, having his appendix removed and I have the camcorder with me, recording an interview with him – asking him how he feels, and to describe what was happening. With this camcorder, I used to film family parties, birthdays, christenings and cut them together to make short videos for people. I guess I always had a keen interest in telling the stories of what was going on in people’s lives,” said Ridgard.

Ridgard is currently busy getting ready for the highly-anticipated ABC reboot of American Idol, premiering March 11, working alongside such superstars as Lionel Richie, Luke Bryan, and Katy Perry. Ridgard previously produced the show’s 15th and final season on FOX and is glad to be back on such a celebrated program.

American Idol is far from Ridgard’s first taste of international success. This sought-after supervising producer has an esteemed resume, including Simon Cowell’s The X-Factor in the United Kingdom, Gordon Ramsay’s The F Word, and Undercover Boss, during which time the show was awarded an Emmy for “Outstanding Reality Program”.

“It’s hard to pinpoint a single highlight of my career. It would probably be working with Simon Cowell. He is someone I grew up watching on TV. He is an incredibly talented Executive Producer and on-screen talent. Working with Gordon Ramsay is also another career highpoint. I served as Senior Producer for his live show. Overseeing a team of producers and associate producers. I was tasked with creating new, interesting and fun pieces that would feature Gordon. I worked with Gordon on these developed ideas and then we would film them and turn them around in post to feature in the following weeks’ episodes. I am a big fan of Gordon, both as a Chef and a television personality. He is one of the nicest and easiest people I have ever had the pleasure of working with. And of course, being awarded an Emmy for contribution to Undercover Boss is also an incredible highlight. To be recognized for my contribution to such a successful show at an early age was, and still is, a very proud moment,” said Ridgard.

Ridgard is also known for his outstanding work on Simon Cowell’s Got Talent franchise around the world. Beginning with Australia’s Got Talent in 2010 followed by Britain’s Got Talent and contributing greatly to their success, Ridgard received a call from the show’s Executive Producer, Sam Donnelly, asking him to be a part of the U.S. version for its eighth season. Knowing that America’s Got Talent is one of the most iconic shows on American television, Ridgard immediately accepted. The show was about to go through some big changes, from new judges to a shift in the format, and he was ready to lend his talents to making the show an even greater hit than it already was. Ridgard achieved his goal. Since joining the team, the show has continually grown in ratings each year, something that is almost unheard of for a reality competition show that has been around for over a decade.

“I love that the stories we tell on a show like America’s Got Talent could potentially inspire people to get out there and follow their dreams. Maybe someone at home might see an 8-year-old dancer, or an 82-year-old juggler, or a struggling comedian, and these stories might resonate with them and their own story and it might push them to reach their full potential,” he said.

Working on the show was difficult but immensely rewarding for Ridgard. Not only did he enjoy working closely with the judges, Mel B, Heidi Klum, Howie Mandel and Howard Stern, but he travelled the country to find the talent that would be showcased on screen. Every year there are tens of thousands of applicants looking to be on the show, and it is Ridgard and his team that find the ones that will connect with audiences and therefore make the show a success. Going through such a large pool of applicants and narrowing them down can be hard and Ridgard would sometimes feel the pressure, but he let that fuel him. Not only did he understand that it was important to the show to find the right people, he understood the responsibility he had: people’s lives were in his hands. Ultimately, he made every decision based on what he knew from his vast experience would make good television and which contestants could ultimately go on to win the show.

In addition to this, Ridgard also had to decide how to tell the contestants’ stories. Some of the applicants have sad or traumatic backstories, and Ridgard knew that the way these stories were told were almost more important than the actual act; they could affect the viewers lives and needed to be told sensitively and in a way to inspire the contestant and the millions of viewers around the world.

“Telling people’s stories and getting to travel the United States while being one of the first people to see undiscovered talent and knowing that these people had a chance to win $1 million and go on to worldwide fame, well, it was an invaluable experience,” said Ridgard.

With such vital responsibilities, everyone on set recognized the producing team as the core of the show. They were the ones that worked in and were responsible for casting, setting up auditions and auditioning talent, filming back stories and interviews and ultimately being the go-to people for every other aspect of the show. It’s because of this that the show is successful and Ridgard is very proud of that.

“I was lucky enough to work with Jonathon as a producer on America’s Got Talent in 2012 and I was immediately struck by how creative he is. He walked onto a big team and quickly became a standout producer with his fresh approach to problem-solving in the field, his can-do attitude and ability to motivate the team around him. Many producers aren’t able to both supply creative, amazing ideas to take the show from good to great and execute them well, seeing them through to the final product, but Jonathon is skilled at both. He just gets it, the entire process, which I’m sure comes from his long, established career in this industry back in the UK. I love working with Jonathon as he’s extremely gifted at what he does, and I hope I get a chance to work with him again,” said Lindsay Tuggle, Supervising Producer.

After his tremendous success on America’s Got Talent, Ridgard was then asked to help launch the premiere season of Asia’s Got Talent. The spin-off is billed as the biggest talent show in the world with talent stretching across 15 countries from India through to Japan. Asia’s Got Talent delivered ratings ten times higher than its nearest English-speaking rival on its season one premier. Ridgard was contacted by FremantleMedia Asia to oversee the creation the show, based in Singapore. As a consulting producer, he was tasked with getting the show off the ground, imparting his expertise to the Asia team and showcasing how the Got Talent format was produced. He helped to develop the show from nothing, implementing casting plans in every country from India across to Japan. He was instrumental in casting the show, choosing the very best, interesting and diverse talent across all 15 countries. He also cast the two main hosts. Later, he worked with the full production team so they would understand how to produce interviews, b-roll, and stylized reality scenes that would fit in with the franchise. Asia’s Got Talent was one of the most successful show launches for AXN.

“I feel very proud to have worked on a franchise that is known globally. It’s been a career highlight and seeing the show continue to succeed is incredible to see. Being able to make people’s dreams come true is something that we actually do as producers. As cheesy as it sounds, seeing someone go from small town girl/boy achieving their dreams with the world at their feet is a job that not many people get to do, and it never gets old,” Ridgard concluded.

Art Director Phenix Miao creates stunning sets for Lepow Commercials

P9Phenix Miao was eight years old when he began drawing. He believes art is part of his blood. His great grandfather owned a famous antique house in Shanghai, and that passion for design passed through generations. Growing up, his house was always full of antiquated artifacts, and even at a young age, Miao became fascinated by them. As he grew, his love for art and design only intensified and he became interested in decorating, arranging, and building a scene. There was only one path for him that made sense, and it was becoming an art director. Now, he is celebrated in both China and abroad for his art direction, and he has no plans of slowing down.

Whether it be with film, television, or commercials, Miao constantly shows viewers just how much talent he possesses. In the 2016 movie Shanghai Sojourner, Miao helped transport audiences to Japanese-controlled Shanghai during World War II. In the acclaimed film Lottery, Miao created a fairytale like world to show the euphoria of a starving, young orphan getting his hands on a winning lottery ticket. Using his commercial senses, Miao also helped raise hundreds of thousands of dollars with his work on a crowdfunding campaign for Itron Battery. He is extremely versatile with a love for what he does.

“Art direction and production design is a large part of telling a story, so I insist on harmonious and mindful designing. When I’m creating a scene, I make sure to consider the person that will be in it and whether the scene corresponds with the one who lives/uses it. Sets are like extensions of the characters,” he said.

Miao once again achieved this with his work on several commercials for Lepow. The technology company manufactures mobile accessories such as the portable power bank, external battery, and the smart bag. Starting in 2015, Miao took on the role as art director for the premiere commercial for Lepow’s TV Show Box. From there, they made a follow up commercial showcasing the product, and a year later, another long commercial showcasing the brand as a whole.

On the set, Miao was responsible for the entire visual experience. He aimed to make everything the director imagined into the scene a reality. He designed the color and artistic style, selected the best and most suitable materials, maximized every detail, and designed the design space. As the leader of the creative team, he aimed to take the big picture and divide it into small, tangible tasks that would be easy to complete within the timeframe they were working in.

Working closely with the director, Miao discussed every shot individually, wanting to understand the exact feeling the client was looking for. Every aspect was important to create an entire world in the set, from colors to the smell, even though viewers would not experience that. Miao shows such commitment to every detail of a project, that it makes everyone he works with greatly appreciate his talent.

“Phenix is a great leader of the art department and ensures everything goes smoothly. He is essential as an advisor, balancing out my ideas and feelings of the clients through his work. He is a comprehensive creator with a deep understanding of filmmaking, more so than any art director I have worked with. He is constantly curious and always eager to learn new things. In terms of production design, Phenix has an ability to take even the largest set and make everything extremely detailed. Even when I can’t describe exactly what I want, he finds a way to not only make it, but he produces work even better than I imagined,” said Peter “Zhen” Pan, Director.

Miao and Pan have worked together multiple times in the past, and Miao is always the director’s go-to art director. Their personal relationship has transformed to a friendship over many years of collaboration, and Miao knows how to transform Pan’s vision into a reality. Miao appreciates Pan’s different taste and feeling about color and the “rhythm” of the set and props compared to other directors. He understands Pan’s “language” and this connection ensures productivity and efficiency on set, as they communicate seamlessly.

“We work like a family and talk to each other directly no matter what the opinion or issue is. On set, everyone makes sure to do their best work possible. The Lepow commercials were no different. It was a great time and wonderful teamwork. All the guys try to help one another. Working on a series of commercials has allowed us to become familiar with each other, and it is a very relaxed working environment,” he said.

The campaign has been a great success both for Miao and Lepow. Despite this, Miao doesn’t think about what he has achieved when he sets his sight on a new commercial. When he sets out to make something, he expects success because otherwise he would not live up to what he knows he can do. That is what makes him such a formidable art director and production designer.

“We put so much wisdom and effort into these commercials because we had a goal, which was to make Lepow feel satisfied and see sales growth from our work. When that happens, I don’t celebrate, I just know that for the next one we should do even better. The series turned out beautiful for sure, and that is our work. That I can feel proud of,” he concluded.