A picture of a paddle racket and ball on the floor.

Behind the Scenes with the New York Times.

We recently wrapped production on a pilot for the team behind The Athletic, part of the New York Times group — a fast-moving, interview-led concept that brought sport and storytelling together in a fresh and engaging format.

Shot outside of Manchester on location in Cheshire, the one-day shoot featured a high-profile sports personality, live-action gameplay, and a series of intimate interview moments — all captured across more than six camera angles. With a tight window to film and limited access to talent, we built a lean but high-performing crew: producer, two camera operators, and a sound recordist, all backed by full production support.

We used a roaming gimbal rig for smooth, cinematic movement during walking interviews, alongside static and long lens setups for wider coverage. Professional sound was delivered via a mix of lav mics and boom options, with multiple setups dialled in to shift quickly between scenes without compromising quality.

From pre-production planning and location layout to on-site coordination and delivery, the project was a showcase of agile, high-end production. Huge thanks to our Head of Production, Morgan Cartlidge, for leading the team — and to the NYT Studios crew for bringing us in.

We’ll share more when the time is right. For now, we’re proud to have played a part in bringing this exciting new series to life.

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Ed Smit
Ed Smit

Ed Smit is the London-born Co-Founder and Managing Director of Here Now Films. With over 15 years of filmmaking experience, alongside earlier work in Marine Biology and investment analysis, Ed blends science, strategy, and storytelling in a way that’s shaped hundreds of productions. He has led major international projects—from delivering video for GMR Marketing at the Paris Olympics to producing documentaries broadcast on BBC World reaching over 400 million viewers—and has helped charities secure more than £200,000 in new funding. At Here Now Films, he champions a belief that cinema-quality storytelling should be accessible, because exceptional work shouldn’t be exclusive.

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