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When 48 Hours premiered in 1988, Time magazine said it could be the most innovative prime-time news series since 60 Minutes debuted in 1968. In its unique approach, 48 Hours examines a single subject from multiple angles with an action-driven style. The broadcast has received critical acclaim reflected in almost 20 Emmy awards, a George Foster Peabody Award, and an Ohio State Award.
Until recently, the promos for 48 Hours were produced at an outside facility using a Discreet Flame. Beginning with this season’s premiere, CBS decided that the promos could be created in a more cost-effective manner if the editing and compositing were brought back in house. Their tools of choice? The Boris Motion Graphics Pack.
“All my editing had been performed in online rooms using Grass Valley switchers, Kaleidoscope and Abekas fx boxes and CMX (that's right, CMX) editors,” said David Shore, a CBS promo editor. “But when the time came to bring the promos for the newsmagazine show 48 Hours back in house for the season premiere, we needed to do it nonlinearly–and maintain the same level of fx whiz bang the producers were accustomed to cutting out of house on a Discreet Flame.”
“An Avid Newscutter Adrenaline FX was my new editing tool, but I knew I needed additional FX horsepower to get the promos done right. So after checking the opinions at various editing forums on the web, I decided on the Boris Motion Graphics Pack.”
"From the tremendous variety of filters available in Boris Continuum, I had a wealth of options that could be easily tweaked and adjusted to get almost any look I wanted. Endless variations of blur, glow, and rays can be achieved. Even more possibilities are available through the built-in PixelChooser, which allows you to constrain the effected video anyway you want. Having been spoiled by the tremendous keying capabilities of a 4 Mix/effects bank Digital switcher, I found I could duplicate most of the keying looks I was used to and then some by combining the BCC Composite, Alpha Process, Chroma Key and Linear Key filters. Dramatic variations on wipes including the ability to incorporate fractal noise patterns can provide the edgy look so in demand in crime mystery promos."
"With the powerful functions of the included Graffiti 4 titling program, I found I did not miss having a dedicated Chyron. I could do things on my own never before possible like insert easy templated animated type, move text on any path I could create (great for that techy "CSI" look) and still of course apply any filter from BCC to further enhance the look."
So what was the end result of returning the post production for 48 Hours back in house? The executive producer was very pleased with the promos for the season premiere of 48HOURS and the savings to CBS by remaining in house were substantial.
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