The Voice

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Cinedeck’s File-based Insert Edit delivers a winning workflow at “the Voice”

For the past four season of NBC’s hit show, “the Voice”, Cinedeck has been integral to the delivery of every episode – nearly 100 episodes and counting! The editorial team count on Cinedeck’s Insert-Edit capability to deliver shows on time and on budget week after week.

With two 2hr episodes to deliver each week, the post-production team faces an enormous time crunch that Cinedeck now helps to solve. Prior to Cinedeck, the Voice was using SRWs and tape that needed to be shuttled from editorial, audio, and finishing. With Cinedeck, they’ve been able to eliminate media costs associated with tape as well as dramatically cut down on the number of times media needs to be re-encoded and re-QC’d.

Jim Sterling and Robert M. Malachowski, Jr., ACE of the “the Voice” discuss how Cinedeck’s File-based Insert Edit helped them migrate from a tape-based workflow, enabling an end-to-end file-based solution. Find out how this highly rated Emmy award-winning network show, with tight delivery schedules and multiple distributions & promotional requirements, has dramatically changed and benefited from File-based Insert Edit in their post workflow.

  • Laying off the Video Master


    Three editors lay off their segments as they are completed to a pre-blacked ProRes file with 12 channels of scratch audio. Once the last editor inserts their segment, the file is ready to go, without exporting, to the Voice’s audio house for a live sweetening session.

  • Live Audio Mix


    Using Pro Tools and a 2nd Cinedeck, the audio editor punches in a live audio mix to the master video file – laying off tracks of audio as they are completed to the master file. Once the audio sweetening is completed, the file goes to the finishing house.

  • Insert Edit and Final Changes


    If there is a fix that needs to be made to an audio track or a frame of video, the Voice sends patches to the finishing house instead of re sending the entire file. And on a 3rd Cinedeck, the finishing house completes the inserts without having to re-encode and re-QC the entire file. At every step of the post process, the master file is being worked on which means there are no unnecessary duplicates or costs associated with iteratively re-exporting for every fix.

  • Mastering and Versioning


    The final file is QC’d and multiple delivery versions are created for both domestic and international distribution.

  • Clips from Runway Event, “Finishing 2.0”

    About the Speakers:

    Jim Sterling | Post Production Supervisor | Associate Director, The Voice

    Post-production supervisor and associate director Jim Sterling has more than 35 years of industry experience and has worked with Survivor creator Mark Burnett on more than 15 reality series and pilots. He has also been a leader in consulting networks, shows, production and post-production houses on transitioning to new technologies. His clients have included NBC, CBS, ABC, FOX, DreamWorks SKG, and Sony Pictures Television.

    Robert M. Malachowski, Jr., ACE. | Emmy nominated Supervising Editor, The Voice

    With more than 25 years of experience, Supervising Editor Robert M. Malachowski, Jr., ACE, has focused on the reality show genre for the past 14 years, with credits including Shark Tank, Bully Beatdown, StarMaker, Rock Star: INXS, American Fighter Pilots, and Survivor. He has also produced and edited the feature-length independent films Light Up the Blues and Free Wheels East. His earlier works include music videos for artists such as Nirvana, Beck, Guns N’ Roses and The Eagles.