“most all game play was shot in the last days of production,” noted ted lasso editor a.j. catoline. “our supervising producer, kip kroger, worked with us and our post house, digitalfilm tree, to create pre-visual effects of what would be seen during the games in episodes 105 & 110. we actually cut with the pre-viz scenes to help plan how action would unfold before they even filmed.” clarified kroger, “pre-viz checked a lot of boxes for us. we needed to know how those scenes were going to fit into the cut, as well as have something to share with the network for context and narrative purposes. it also provided an important road map for production while filming at night, in london’s freezing november rain! digitalfilm tree’s pre-viz team built a virtual stadium and executed game play of the matches all the way down to camera angles we’d want to cover in each beat. that allowed us to be much more efficient while knowing what to expect from an editorial perspective. the editors and producers were able to see beforehand what we were trying for and discuss different ideas thanks to the iterative process of pre-viz.”

read our coo’s full article at american cinema editors magazine