
TVBEurope sits down with editor Michael Brown to find out how he goes about constructing each 30-minute episode of the hit documentary series, and the technology that helps him do it
By Jenny Priestley
Published: September 27, 2023 Updated: September 28, 2023
TVBEurope sits down with editor Michael Brown to find out how he goes about constructing each 30-minute episode of the hit documentary series, and the technology that helps him do it
target=_blank title=Share on LinkedIn class=share-linkedin>
Welcome to Wrexham, the Disney Plus series following the fortunes of Wrexham AFC, recently returned for its second season.
The series follows co-owners Ryan Reynolds and Rob McElhenney as well as the manager, team, and various fans.
Season one is currently nominated for six Emmy Awards, including Outstanding Picture Editing for an Unstructured Reality Programme.
TVBEurope caught up with editor Michael Brown to find out how he goes about constructing each 30-minute episode, and the technology that helps him do it.
Michael Brown Can you tell us about your background and how you got into editing? I started with VHS tape editing, tape to tape at home with my parents' VCRs and camcorder. I would ask teachers if I could make a short video on a subject instead of writing papers in high school. I thought directing was going to be my future, but the technology changed as I was learning more and I feel like I was witnessing the industry change to digital as I grew along with it and learned software. I found a joy in editing that I didn't get from filming, the ability to match music with pictures and create emotion from those who watched.
When I was touring universities, the professors talked about an approach to teaching where all students had to learn all skills for several years before specifying a field. The technology at the universities seemed antiquated as the whole industry was moving to digital in a hurry, so I decided instead to move to Los Angeles at 18 years old in 2003. I attended and completed the Avid Certified Program, where I jumped into assisting professionally shortly after and then into editing short character segments for Texas hold em poker television tournaments on FOX TV as my first real editing job in 2005.
How did you get involved with Welcome to Wrexham? A colleague friend of mine recommended me to John Henion, the showrunner in season one. The series had been in edit for a bit of time, and it needed a fresh look. As with a lot of documentaries you have to find' the heart within the material, and luckily they chose me to come on at that time.
Ryan Reynolds and Rob McElhenney Are you a football fan? If so, who do you support? Wrexham of Course! I'm up most Tuesdays and Saturdays at 6am cheering way too loudly. I love football, I am a big Bar a fan as well. Having lived there for a short while in 2009 during the Messi reign, it was impossible not to fall in love with that club.
Why did you choose to cut Welcome to Wrexham on Media Composer? The project was already set up on Media Composer when I arrived. But I would always choose Media Composer for projects. It's just got a feel that presents the footage as the most important part of the programme. Being able to work collaboratively as well, they have had it figured out for so many years.
Why do you prefer it to other editing software? I prefer it because I know that when I'm working on an Avid project, the team is always top notch. There's a certain division of labour that often doesn't come with software that claims to do it all. Assistants can be working in the background seamlessly, transferring to online and mix; it's just sort of this sweet symphony that allows me to be as creative as possible. It always feels that way on Avid jobs.
How much footage are you given for each episode? I couldn't even begin to imagine! Each episode has at least one match, usually 7 or 8 cameras for the match alone. Pregame there are two running around, halftime there's one in the changing room; and post match. So just the matches alone maybe 14 hours? And then scene work- probably an hour each, add interviews. Maybe 30 hours total, best guess!
How do you decide which stories to follow how involved is the show's producer/director in the cut? Our field producers Milo Bala and Patrick McGarvey get major credit for that one. They formed great relationships with the Wrexham town characters and the team. They would uncover these amazing stories, and follow them as they experienced the season's ups and downs. It probably is a bit more organic than anything, which I think is why this series has touched so many people. It's really real and feels that way.
What's been the difference in terms of editing between season one and two? On season one we had to be aware that primarily, for our American audience, we had to always remember and assume they knew nothing about Wales, football, or the EFL. It was a balance of not spending so much time over-explaining that you were removed from the story. I think we worked really hard to establish a balance of tracking the football and character development.
In season two we aren't tracking characters over the arc of the whole season. We are introducing people more to the drama of the points chase that happened with Wrexham and Notts County, which set up a thrilling head-to-head late in the season.
We do introduce new characters but you learn about them in a more self-contained way.
What's been your favourite episode to edit? My favourite episode is Episode 205 Ballers. It highlights a whole separate part of the club and introduces a whole cast of new characters that will blow people away and steal their hearts.
What's been the biggest challenge of working on the show (other than learning about
More from TVB Europe
15/04/2025
Jan Krupp, VFX supervisor at Scanline VFX, tells TVBEurope how the company created a range of environments for the Netflix film
By Matthew Corrigan
Published...
15/04/2025
Ateliere said that due to the current, unforeseen turbulence in the US and in the global business and financial markets the company is no longer in a position t...
14/04/2025
Stanley has been promoted to the role following seven years as general manager with the company
By Matthew Corrigan
Published: April 14, 2025 Updated: Apri...
14/04/2025
StreamAMG delivers more than 15,000 live events each year, with over 52,000 hours of content watched in 200 countries
By Matthew Corrigan
Published: April 14...
14/04/2025
TVBEurope content director Jenny Priestley sums up her 2025 NAB Show experience, from the end of AI hype to the impact of tariffs, trying out virtual production...
11/04/2025
Two creative projects will receive awards of £35,000 aiming to boost innovation in 5G across the media and entertainment sector
By Matthew Corrigan
Published...
11/04/2025
The London VFX studio has strengthened its pipeline team with two promotions and a new appointment
By Matthew Corrigan
Published: April 11, 2025 Updated: A...
10/04/2025
The report outlined a package of proposed measures to ensure domestic production...
10/04/2025
Attendees travelled from 160 countries around he world to the media and entertainment industrys Super Bowl event
By Matthew Corrigan
Published: April 10, 202...
10/04/2025
Kitty Higinbotham, president of Wall Street Communications, tells TVBEurope why communication skills are essential in an ever-changing industry
By Matthew Corr...
09/04/2025
Located across from Panavision London's camera and optics rental business, the new site is nearly 10,000 sq ft larger than the previous facility
By Matthew...
09/04/2025
The project aims to enable flexibility and integration to ensure consistent graphics experiences across diverse platforms
By Matthew Corrigan
Published: Apri...
09/04/2025
The proposal includes an investment of £20 million in local industry and could create up to 4,000 jobs
By Matthew Corrigan
Published: April 9, 2025 Updated...
09/04/2025
Andy Sumner also joins the company supporting its recent expansion into Liverpoo...
09/04/2025
TVBEurope celebrates the stand-out products on show in Las Vegas
By Jenny Priestley
Published: April 9, 2025 Updated: April 13, 2025
TVBEurope celebrate...
08/04/2025
Channel 4's Top Guns: Inside the RAF puts viewers at the heart of the action, following the service as it carries out operations around the world. Mark Tatt...
08/04/2025
DPP CEO Rowan de Pomerai and CCO Mark Harrison talk to TVBEurope about the organisations first decade, plans for the future and challenges facing the media indu...
08/04/2025
Reports say ProSiebenSat is lining up the investment bank to repel the Berlusconi-owned company as it seeks to retain independence
By Matthew Corrigan
Publi...
08/04/2025
Jodi Morelli, acting head of external communications for Globecast, and growth manager, North America at RISE talks to TVBEurope about the need to stay curious,...
07/04/2025
The company debuted new products, accessories and upgrades ahead of NAB 2025
By Matthew Corrigan
Published: April 7, 2025
The company debuted new products...
07/04/2025
Production company Fulwell 73 and financiers Cain International plan to build 20 premium sound stages at the complex
By Matthew Corrigan
Published: April 7, ...
06/04/2025
TVBEurope content director Jenny Priestley sits down with new Grass Valley CEO Jon Wilson to discuss his vision for the company going forward, what that means f...
04/04/2025
In our latest article on a piece of broadcasting history, Vizrts Russell Leak tells TVBEurope how his Dad created the motor used in a BBC 1 ident from the 1980s...
04/04/2025
The agency aims to bridge gaps in product strategy, development, and go-to-market programmes for media tech companies around the world
By Matthew Corrigan
Pu...
04/04/2025
Carole Pigeard, SVP of global sales at Moments Lab tells TVBEurope how diverse perspectives fuel evolution in the media and entertainment space
By Matthew Corr...
03/04/2025
Innovations across Premiere Pro and After Effects deliver AI-powered upgrades and workflow improvements, said the company
By Matthew Corrigan
Published: Apri...
03/04/2025
The new upgrades aim to enable smarter tracking, greater control, and faster workflows while expanding interoperability across robotic systems
By Matthew Corr...
03/04/2025
From a trip to space to the inaugural Sports Summit, and a look behind the camera of Wicked, this is whats on the TVBEurope teams radar at the 2025 NAB Show
B...
03/04/2025
Because of the nature of this sort of sliding scale of tariffs, there are opportunities that werent there before, analyst Alice Enders tells TVBEurope
By Jenny...
02/04/2025
Sally Wallington, SVP of sales at Pebble, explores the mission-critical considerations broadcasters should make when choosing a playout provider
Sponsored Cont...
02/04/2025
TVBEurope meets Tim Claman, chief product officer at Avid, to discuss the compan...
02/04/2025
Submissions will be accepted up until 23:59 PST on 2nd April
By Jenny Priestley
Published: March 24, 2025 Updated: April 3, 2025
Submissions will be acc...
02/04/2025
Leclerc will work with group members to explore and champion UK digital media distribution via broadcast, IP, mobile or hybrid delivery
By Jenny Priestley
Pu...
01/04/2025
Adopting open standards, the solution aims to provide workflow standardisation, allowing for automation and other innovations across a diverse range of markets
...
01/04/2025
Submissions will be accepted up until 23:59 PST on 2nd April
By Jenny Priestley
Published: March 24, 2025 Updated: April 1, 2025
Submissions will be acc...
01/04/2025
The AI issue takes a look at how AI is reshaping broadcasting, including areas such as sports commentary and archiving and storage, plus we discover how Norways...
01/04/2025
Joining the company with more than two decades of experience forging and scaling alliances in the industry, Wastcoats role will support TVUs strategic developme...
31/03/2025
Submissions will be accepted up until 23:59 PST on 2nd April
By Jenny Priestley
Published: March 24, 2025 Updated: March 31, 2025
Submissions will be ac...
31/03/2025
The company is said to be working with KPMG on a deal that could include the sale of a majority or minority stake
By Jenny Priestley
Published: March 31, 202...
31/03/2025
The confidential agreement ends multi-jurisdictional litigation between the parties over the issues
By Matthew Corrigan
Published: March 31, 2025 Updated: ...
31/03/2025
Em Bell, senior client services coordinator at dock10, tells TVBEurope why a can-do attitude and problem-solving mindset is ideal for the TV industry
By Matthe...
28/03/2025
TED-Ed series Ada fuses storytelling with eye-catching animation. The Should We ...
28/03/2025
Rita Madeira, content producer at Digital Azul, tells TVBEurope how the industry thrives on connections and welcomes curiosity
By Matthew Corrigan
Published:...
27/03/2025
The Mini has a footprint equal to the size of an average smartphone and can be placed side by side for use in stereoscopic or volumetric video
By Jenny Priestl...
27/03/2025
The teams behind House of the Dragon, Masters of the Air, Silo and The Lord of t...
27/03/2025
The initiative aims to help young women pursue higher education in broadcast and media technology, offering financial assistance and networking opportunities
B...
27/03/2025
We believe that ProSiebenSat.1 needs a strong shareholder that can provide expertise and experience in the industry, making an active contribution to its growth...
26/03/2025
The Chancellor presented her speech in the House of Commons today
By Matthew Corrigan
Published: March 26, 2025 Updated: March 27, 2025
The Chancellor p...
26/03/2025
The council will guide key focus areas to help grow a more secure, interoperable and effective media creation ecosystem, said the organisation
By Matthew Corri...
26/03/2025
Donna Thomas, executive vice president, Vubiquity talks to TVBEurope about how nurturing an early entrepreneurial streak paved the way for her career
By Matthe...