Dancing with the Stars Sizzlin’ Style

Tags: Continuum

“Monday Night Fever” is gripping the nation once again. ABC’s Emmy Award winning Dancing with the Stars is a ratings juggernaut averaging 12.7 million viewers a week.  The flashy reality dance competition that pairs professional ballroom dancers with celebrities is now in its nineteenth season.

Tal at his desk at Wipeout Yoram Tal (he goes simply by Tal) is one of DWTS ’s two online finishing editors. The Israeli-born freelance editor, whose credits include, ABC’s The Oscars , VH1’s Behind the Music , ABC’s Wipeout , and TNT’s The Hero , has been a longtime user of Boris FX products. “I’ve used BCC ever since it was offered as a part of the Avid Symphony,” says Tal. “Now that it’s not part of the package, it’s on my demand list for any system I work on.” He works on both Avid Symphony and DaVinci Resolve.

Tal’s role as an online editor is as fast-paced as the jive. The biggest challenge is maintaining the high quality of content delivered under a tight time constraint. The creative team develops the look of the show, while offline editors weed through massive amounts of footage to create stories and packages. The online editors are an extension of the process by making sure the packages that roll into the live show look the best they can while maintaining the creative intent. “The show has a great colorful look with cool transitions and moving backgrounds,” says Tal. “We try to make our part as smooth as possible. BCC Composite is used a lot for VFX integration. Any cold open on the show this year will have it. Also, any time there is a floating layer of texture, we use BCC to put it in, mostly on stills and teases throughout the show.”

(Filters used include: BCC Composite, BCC Film Damage, and BCC Halftone)

Another one of Tal’s go-to filters is BCC Flicker Fixer. “It is an amazing secret tool I use all the time to remove auto-iris changes. Reality TV has tons of unintended iris changes. Someone forgets the auto-iris is on and it’s a moment that has to be in the show,” notes Tal. “BCC Flicker Fixer to the rescue. I even have a “Tal” preset for it! When I find a good adjustment that I’ve used more than twice, I save it as my own preset.”

With over twenty-five years experience as an editor, Tal recognizes that the people around you from the assistant editors to the producers can make or break a project. “We have a very creative crew on  DWTS and everyone is always looking for new tricks. It’s a great collaborative environment,” adds Tal. “BCC Beat Reactor got used in a cold open after I saw it at NAB and showed it to a couple of our editors. We all really enjoy coming in and doing our part to make compelling and entertaining TV. The audiences seem to like it too.”

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