A year and a half ago, I was in the middle of editing The Voice, the local Israeli adaptation of the famous TV singing competition, when I suffered a serious back injury. What I originally thought would be months of bedridden unemployment, Netflix binging, and unhealthy amounts of boredom, turned out to be quite the opposite. In fact, it was my back injury that forced me to quit The Voice, and landed me an offer to work on a new project “from home”. That project was Noy and Hadar, and I’ve already edited two successful seasons since.
Noy and Hadar is a lighthearted, kid-friendly short series that invites the audience into the colorful world of 17-year-old identical twin girls, Noy and Hadar, who have become popular Israeli teen sensations. The girls discuss common teenage life issues revolving around school, friendship, and romance. Each episode is 12-16 minutes long, uses video-blog style filming, and incorporates many bright colors and graphic designs throughout. Additionally, each episode ends with a new music video featuring the twins, who are also singers, covering the latest pop hits.
Right off the bat, this show was already very different from the projects I’ve been working on recently. It was nice to take a break from reality TV, and focus on something more scripted for a change. After watching just one episode, it’s clear that the entire show is really built on the visual effects and sound design. The graphic designs are constantly popping out with bright colors in a whimsical nature. The humorous script and eccentric vibe of the show definitely made the 20-hour editing sessions more bearable.
The series was shot on two Canon EOS 5D Mark III DSLR cameras. We linked the footage via AMA and transcoded to 1080p DNxHD 36 for the offline edit. Sound was recorded on-set using Pro Tools, and later everything was synced using PluralEyes 3. After the offline was locked, we reconnected the AMA and transcoded the footage to DNxHD 120. The coloring was done by the director on Avid.
It became really comfortable working with Avid Media Composer 8 especially after I discovered two awesome tools that made my work so much easier; AniMatte and FluidMorph. These tools allowed me to create smoother cuts and let me play around more freely with visual effects, mixing and matching multiple takes together.
The greatest challenge I faced while working on Noy and Hadar would probably be the deadlines and time constraints. The amount of time between the shooting of the footage and the airing of the episodes was so short, it left us about one month to completely edit roughly 11 full episodes. Shooting about an episode per day, I would receive the footage of the day that same evening and begin the editing right away. The post production team included me as the editor, VFX artist Ruja Petrov, and a sound designer from Bassline Studio, so we really had our work cut out for us, but it only made the experience more dynamic.
I was lucky enough to work with the wonderful director Roi Lindenbaum who gave me tons of creative freedom to explore and experiment with different ideas I had floating around in my head. After all, it was vital to the show that we made each episode pop with something new and creative to the young and easily bored audience.