Issue link: http://digital.copcomm.com/i/1039130
www.postmagazine.com 18 POST OCTOBER 2018 sures that we aren't missing any files," Babcock says. Only then can the camera department clear those cards and put them back into service. Once the episode is locked, the EDLs are sent to Encore, where they restore all of the original camera files from the LTO archive drives back into the SAN to build their online, drop in VFX shots, color-cor- rect, title and finish the picture. Meanwhile, Zoic Studios created the visual effects for the pilot, while Picture Shop is han- dling shots for the subsequent episodes. Once CBS Studios is ready to turn over the shots for the effects work, a pull list is sent to Encore, which gathers all the original camera masters and uploads them to the server at Picture Shop. After the VFX are completed, the files are sent back to editorial to cut in offline. Once approved, Encore cuts the master files into the online stream and color corrects it. Magnum PI contains a range of visual effects, including a good deal of digital sets. "We do a lot of bluescreen shooting," Babcock points out. Robin's house, known as "Robin's Nest" is a prac- tical set, whose bluescreens are replaced with CG backgrounds. As Babcock notes, "It's all created digitally now instead of shooting backplates, like we used to do a few years back. We can now create virtual worlds, which can be 360, or 180, or whatever they need to be so you can adjust the background to whichever window you're looking at or whatever angle you're looking from. You can also adjust the time of day and make it nighttime or daytime." Initially, though, the work can seem daunting. "With a pilot or new series, you're starting at the beginning. So every time we want to cut in an aerial shot of our hero location (Robin's Nest), we have to go out and shoot that footage with a drone or helicopter, pick the shots we want to use and then add our world with VFX," explains Babcock. "You have to create this virtual world — all of the aerial shots of Robin's Nest estate are virtual. We have to send the structural drawings and designs that are created by the production designer to the visual effects team, which then creates 3D models." A Paramount team of three editors, three as- sistants and a VFX artist and editor edit the show on Avid systems. However, in order to work on the Avid, the group has to first convert the files in the dailies process to a DNx36 file. "It's still an HD file, but it's much more compressed, and smaller and easier to work with," Babcock adds. Because Magnum PI is in the early days of produc- tion, Babcock and the producers still work side-by- side with the DP and colorist from Encore, carefully creating the look for the series. Magnum PI, like Hawaii Five-0, is a Peter Lenkov show (who is the pair's co-creator/execu- tive producer). Both are set and filmed in Hawaii, though Five-0 has a crisper, more neutral look, while for Magnum PI, they are going for a warmer aesthetic. "We're going for the greens and blues of Hawaii, that beauty and paradise, and adding some warmth with natural golds," says Babcock. "We're not trying to be overly warm, but just add- ing some of the natural gold element to give it a really rich flavor." Magnum PI is an iconic show with so much history, though the producers are careful to add a modern makeover without straying too far from the original. "We tried to make some chang- es that gave it a lot of fun and nice new twists, but held onto some of the great things about the series that really worked," says Babcock. "Aloha" once again. Picture Shop is handling VFX for the series. Zoic completed VFX for the show's pilot episode. Magnum is shot on Arri Alexa Mini cameras. Posting Fall TV