Portrait Artist Of The Year Series 12

Now into its 12^th series, Portrait Artist of the Year  has established itself as a firm favourite with audiences, artists and sitters alike. There seems to be no shortage of celebrities willing to sit for four hours whilst their portrait is painted by a procession of talented contestants who, in turn, must sweat through the evaluation process as their efforts are assessed by judges Tai-Shan Schierenberg, Kate Bryan and Kathleen Soriano. Viewers eagerly anticipate this feast for the senses, delighted by the jeopardy as well as the creativity on view, season after season. And bringing the show to life is a labour of love which takes a seasoned crew, both on location and back at Sky Post Production’s West London facility, working together like a well-oiled machine. But just as Portrait Artist of the Year benefits from fresh faces on-screen each week, behind the scenes we like to blend youth and enthusiasm with wisdom and experience to maintain the talent pipeline, and to ensure that Portrait Artist of the Year remains the much-loved and entertaining show that audiences have come to expect.

So, what’s it like to be the new face in the frame on such a perennial favourite, and how does it feel to step into some seriously big shoes? We spoke to some of the new people joining the show across the Post Production spectrum and asked them to share their experiences. We also asked our client, Storyvault Films, about how our newest members had performed, and they were more than happy to give us their thoughts.

Lee Mynett – Offline Editor

Q: How did you come to be involved in this season’s Portrait Artist of the Year production?

LM: In 2024, Storyvault Films and Sky Arts developed a spin-off series from Portrait Artist of the Year and Landscape Artist of the Year, called Artist of the Year: Art Masterclass. I was brought in to edit the first batch of episodes and worked closely with the Series Producer, who also oversees Portrait Artist of the Year, and was subsequently asked if I’d like to cut an episode of the upcoming Series 12. I was more than happy to accept.

Q: What support was in place to help you settle into the role as a new editor on the project?

LM: Before starting my first episode, I spoke to several of our Sky Post Editors who have been associated with the show for some time, including seasoned veterans Will Teversham and Jennifer Ford, to give me a solid understanding of the workflow, the show's rhythm, and the expectations from initial post through to final delivery. There was also a start-up meeting to align our Offline, Online, Grade and Audio requirements, to ensure that the entire team shared the same focus. Having access to previous series was incredibly helpful - not just for understanding the overall structure, but also for identifying key moments to look out for during sync pulls. Watching past episodes gave me a strong sense of pacing and how set-pieces were traditionally constructed, which was invaluable when working to tight deadlines. As well as all that, my Edit Producer had extensive experience across multiple series of the show and was an invaluable source of insight and guidance throughout the process.

Q: How is each episode constructed?

LM: Each episode follows a structured process. At the very beginning of the edit I would send the Edit Producer all the sync for key moments, including the judges discussing the artists’ submissions, the sitter introductions, the halfway point discussions, art reveals and various other setups concluding with the winner announcement. These were quickly assembled using the sync map provided by our Edit Assistants. The following days were then spent building chronological comps for each of the nine artists and three sitters as well as all the audience reactions, off-camera comments for potential segues and all time-lapse footage, giving the Edit Producer the required sync to create the paper edit. Each episode then proceeds through the offline leading up to sign-off.

Q: What challenges did you face in the edit, and how did you overcome them?

LM: Editing Portrait Artist of the Year presents a unique set of challenges largely due to the volume of the footage and the format of the show. Each episode involves multiple camera angles covering nine artists, three sitters, audience reactions, and time-lapse footage. Across the whole series that’s roughly 60TB of raw material and 35 hours of footage per episode. To stay on top of this I developed a consistent workflow early on by creating those detailed chronological comps for each artist and sitter which helped to streamline the Edit Producer’s paper edit process, and by using the sync maps provided by our Edit Assistants to quickly locate and assemble key set pieces, ensuring nothing was missed, whilst also saving valuable time.

Q: Did the established nature of the series help you prepare?

LM: The show has a well-established format and tone, which means that creative decisions must align with audience expectations as well as with previous series. At the same time, each episode needs to feel fresh and engaging, so when I studied past episodes to understand the pacing and structure, that also helped me to make informed creative choices when working with the Edit Producer and Series Producer as well as ensuring any new ideas or stylistic tweaks were in keeping with the show’s identity.

Throughout the edit I maintained close communication with the Producer and Execs, sharing early cuts whilst being proactive about feedback. Working with Kika, the Post Production Coordinator, we also built flexibility into my schedule to accommodate changes, which helped avoid bottlenecks during the sign-off phase.

Q: How was your experience working on the show, and would you like to do more?

LM: Absolutely! Working on Portrait Artist of the Year was a really enjoyable experience. The teams at Storyvault and at Sky Post Production were incredibly supportive, approachable, and provided constructive feedback throughout. The collaborative atmosphere made the process smooth and rewarding, and I’m looking forward to returning for future series.

Nelda Sale, Series Producer, Storyvault Films said:

"We've always had a good working relationship with Sky Post Production and Storyvault Films shares their enthusiasm to nurture new talent. Each year, the Post Producer suggests Sky editors to join the PAOTY team so we’re always willing to try out fresh faces. In Lee’s case, it was a slightly different entry to the team as he was available to work on our spin-off show Artist Of The Year: Masterclass. He impressed us with his ability to be flexible while we established this new format, as well as providing helpful suggestions. All the while Lee was mindful of the ‘editorial language’ of the Artist Of The Year shows. Therefore, when it came to Series 12 of Portrait Artist Of The Year, I put in a request to have Lee on the team and to his great credit, he did not disappoint. He is incredibly meticulous, which is important for art continuity, and yet he works at a fast pace. Lee is always open to feedback and editorial notes and more to the point, is very nice to work with. He is invested in the narrative of each artist’s story and has a good way of adding flair to his cut, something that is important as we embark on the 13th series of this much-loved formatted show."

Francisca ‘Kika’ Ribeiro Paiva – Post Production Coordinator

Q: What had you worked on before joining the latest series of Portrait Artist of the Year ?

FRP: I had mostly been Post Production Coordinating on Sky Documentaries such as Klitschko: More Than a Fight, The Beast, and Striking with Pride: United at the Coalface. I knew this project would be very different as a returning series with an established format and many episodes with many mini-schedules and segments within the overall series. The show is always evolving which influences things behind the scenes too. In recent years that’s included changing the cameras used on set as well as our edit workflow, all with the aim of improving the quality of the output. That has knock-on effects across Post which presents interesting challenges for me and the Workflow Supervisor.

Q: What was done to make you feel welcome and part of the team?

FRP: There’s a deep trust between Storyvault Films and Sky Post Production and I was really excited to join the team. I was made to feel really welcome from the get-go. Post Producer, Pete Green, invited me to join a start-up meeting with the 2024 team to discuss plans for 2025. Not only was it the perfect time to introduce me to everyone else, but it was also a great way to give me a feel for what may come up. The show usually has the same core of talent every year, so it was lovely to be one of a few new faces in the team. It just emphasises the amount of talent we have at Sky Post.

Q: What does the Post Production Coordinator do on Portrait Artist of the Year ?

FRP: My duties include client liaison, managing bookings in Edit Operations, organising Editor shifts, clearing invoices and multiple ad-hoc tasks. On a series such as this the role requires a combination of being highly organised with the ability to look ahead to ensure that everything runs smoothly whilst also being able to think on your feet. And that’s when teamwork, collaboration, sharing resources and negotiating skills are super helpful. The biggest challenge on this production was getting used to all the moving parts and multiple episodes rather than the relatively ‘simpler’ schedule you might expect with a standalone documentary. Usually, I would be working with one offline editor and one producer, but on Portrait Artist of the Year there is a much bigger team. With so many people working across so many episodes you need to have the ability to rejig the schedule to meet deadlines, whilst also having a keen eye for which bookings are moveable. If there was any impact from that, it would mean keeping our Audio and Online teams aware of any changes so that we could ensure there were no surprises when it came to deliveries.

Q: What have you enjoyed doing the most?

FRP: I’ve especially enjoyed working with Irene, the Lead Edit Assistant, who had so much on her to-do list but was on top of absolutely everything. It’s also been great working with so many talented Editors and Edit Producers on different episodes simultaneously. With so many comms it felt like much more than just one project!

Having had a few sneak peeks at the show both on viewing links and in-person during my set visit, I am so excited now that the series is on air. The contestants are so talented, I don’t know how the judges do it – it’s so hard to pick the best painting! It’s really rewarding to see something you have worked on up on-screen. Viewers can expect a lot of emotion while rooting for their favourite artist, as well as a genuine warmth which is so needed now that winter is coming in. There is something so comforting in watching the artists paint and the presenters’ soothing voices and with that beautiful soundtrack too.

Claire Pugh-Williams, Head of Production, Storyvault Films said:

"Kika’s contribution to our shows and the Post Production process cannot be overstated. She brings a rare combination of clarity, calmness, and proactive support that consistently strengthens the collaboration between our team and Sky Post Production. Kika’s professionalism is matched by her warm interpersonal approach, making her an invaluable point of connection across departments. She anticipates challenges before they arise, communicates with precision, and ensures that creative and technical workflows remain seamless throughout the production cycle. We deeply appreciate the expertise and energy she brings to the table, and we look forward to continuing to work with her on our upcoming productions."

Irene Ofosu – Lead Edit Assistant

Q: When did you find out that you’d be working on Portrait Artist of the Year ?

IO: I was told at the start of the year that I would be working on Series 12, and I was absolutely thrilled. As an Edit Assistant I’d always gravitated towards dedicated projects like Portrait Artist of the Year during my downtime and I made it clear to my colleagues that I was available to help whenever extra hands were needed. This exposure, combined with my willingness to learn, led to me being selected to work on the show and it’s a fantastic project to be involved in. The workflow is highly complex, challenging me in all the right ways, pushing me out of my comfort zone and inspiring me to explore new technical avenues. The early notice allowed me not only to thoroughly prepare by delving into the intricate working process, but also to arrange a set visit to gain valuable insight into the show's setup and what to expect - a truly invaluable experience.

Q: What do your duties include?

IO: As Lead Edit Assistant I’m responsible for ingesting media, syncing and grouping, prepping sequences for Audio and Grade, handling ad-hoc requests such as sending viewing links for episodes, and liaising with my Technical Supervisor, Liam Stiles, to suggest and implement workflow improvements. I also work closely with Post Producer, Peter Green and Post Production Co-ordinator, Kika Ribeiro Paiva both of whom have been exceptionally supportive and great to work with to manage the workload effectively. I've also had the opportunity to work more with the Audio Mixers, Online Editor, and Colourist which has been a really rewarding experience and has provided valuable insights into their specialised workflows as well as enhancing my understanding of the Post Production process.

Q: What is the next step for you?

IO: It’s been such a great experience collaborating with amazing people and I’d love to work on the show again. More than anything, it's been wonderful to immerse myself in the world of art and witness how contestants produce such incredible work in just four hours. It's truly a great show to be working on! As for the next step, what I’m aiming for is to continue growing, pushing and striving to work on more amazing shows and to become a full-time editor.

Nelda Sale, Series Producer, Storyvault Films said:

"We have had the pleasure of working with several edit assistants over the years, but I must say that Irene has stood out for her incredible work ethic. She is very efficient when handling requests from the edit team and is always courteous in her correspondence. Irene’s 'can do' attitude and evident enthusiasm to learn new skills helps ensure that the post process is smooth. Specifically, she is great at sending links quickly which is much appreciated when we have fast turnaround requests. I also found myself over a weekend requiring some work to be done a bit last minute and Irene was excellent at attending to my requests. We look forward to working with her in the future."

Erin Adams & Matthew Welham – Trainee Audio Dubbing Mixers

Q: How long have you been with us at Sky Post Production and where have you joined us from?

EA:  We started at Sky in late July as placement students from the University of Surrey. I’m on the Broadcast Engineering Course and I’m here as a Trainee Audio Dubbing Mixer for a year.

MW: I’m also in the third year of my degree at the University of Surrey, on the Tonmeister Course. I’m loving it here as a Trainee Audio Dubbing Mixer and really want to make the most of my time at Sky Post Production.

Q: What is your role on the show and what does your training involve?

EA: Our job is to thoroughly prep all the audio from each show ready for the Mixers to pick up and work their magic on. We were immediately introduced to Portrait Artist of the Year, and it has been an incredible workflow to learn our processes and responsibilities on. We’ve been taken through many of the Post Production aspects from syncing the sound rushes, to preparing the audio projects for the mixers who bring the stories to life. It has been incredible following the project all the way from our responsibilities as trainees to watching the Mixers make their contribution to the final product.

MW: It was explained to us how important Portrait Artist of the Year would become over the next year and how much we would learn by working on it. I am responsible for syncing and conforming the recorded audio from the shoot days. Once the show has been edited, we then do the audio conform to ensure we have all the highest quality sound and build the project. We’ve been learning to do this through formal teaching from last year’s placement students, discussions with colleagues and shadowing the Mixers to see what we can improve in our process, as well as getting the opportunity to assist with some editing and by following each episode all the way through the process from beginning to end.

Q: Who do you mostly work with and what do you think of the show?

EA: Primarily, we work with the Audio Mixers, but as Trainees we have frequent contact with the Edit Operations Team when we need files or have questions about the material. We also work with Kika, the Coordinator, if we need more details for our work such as shoot dates, or if she requires files from us. She is also in touch with us regarding bookings and when our jobs need to be completed by. The show is an amazing feat of organisation with so many contestants requiring such specific audio/video sequences. It’s also a great first project to work on due to its structure. The interviews and VO segments do wonders to introduce the artists and help understand their personality and individual style. This placement opportunity is an incredible experience, and I know I am going to improve my skills in Mixing using the fantastic audio equipment on offer. I would definitely like to do it again given how much I have learnt from this series

MW: I really like the show – I think the variety of artists and styles is intriguing. I have seen far more methods for creating art than I ever thought possible – all the different techniques and contraptions like printing presses! I would love to work on Portrait Artist of the Year again – I not only enjoy my role and involvement in making the show but also enjoy it as a viewer. Even when I’m working on the show, I get excited to see which celebrity is going to be a sitter for the episode. The interactions between the artists, celebrities and judges are what makes the show so enjoyable – not just the incredible artwork. It’s a unique series and has helped me learn a lot in only a couple of months! I would like to continue following each episode through from the syncing stage to the final mix, to gain an even greater understanding of the roles and what extra things I can do to help streamline their workflow to help achieve an even more efficient process overall.