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www.postmagazine.com 2 POST JAN/FEB 2021 EDITOR'S NOTE elcome to our first issue of the New Year! With 2020 behind us and COVID vaccines rolling out in earnest, we're optimistic about the year ahead. The post production industry is resourceful, and while 2020 was a year like no other, pros found a way to continue creating content under the most challenging circumstances. Remote workflows are now proven, and you can find examples of successful implementa- tions throughout this issue. Manufacturers such as Dell, Facilis Technology, Studio Network Solutions and IBM Aspera all have solutions that enable remote workflows, and you can find out more about them in our "Bits & Pieces" section, beginning on page 4, and in our "Storage Report" on page 26. On page 16, Iain Blair talks with Benjamin Cavell, the showrunner and producer of The Stand, a new nine-part series streaming on CBS All Access. Based on Stephen King's 1978 novel, the series tells the story of a world brought to its knees by a lethal pandemic. Couldn't be more timely, right?! Most of the show was shot before the pandemic hit, but post produc- tion was almost entirely remote, with editors working on Avid systems from home, and the soundtrack — put together by Westwind Media — being reviewed using headphones and Sohonet's ClearView realtime remote tool. The color grade was also reviewed remotely, using calibrated iPads provided by the team at Company 3. Cavell says he never stepped foot into the post rooms that were initially rented for the production. I had a chance to speak with Oscar winner and first-time director Regina King about her work on One Night In Miami… (page 20). Based on a play, the film is set in 1964 during the height of the Civil Rights Movement and brings together Muhammad Ali, Jim Brown, Sam Cooke and Malcolm X, who initially plan on celebrating Ali's heavyweight title win, but in- stead get involved in a tense discussion that challenges each of them regarding their individ- ual roles in the effort. King, too, was hampered by the COVID outbreak, which kept her from collaborating in-person with composer Terence Blanchard on the film's score. "Normally…we would spend a lot of time in a studio and kind of discover what is working and what's not," she explains. "And that opportunity was taken away. So everything was via emails and FaceTime calls." Our cover story on page 18 looks at the visual effects that play an important role in telling the story of HBO's The Flight Attendant. FuseFX's New York studio was tasked with creating the show's VFX, many of which involve flashbacks and delusions that flight attendant Cassie Bowden (Kaley Cuoco) experiences following an unexplained murder that she is somehow linked to. The studio was able to quickly implement a remote workflow just 24 hours after New York City went into lockdown, allowing their VFX artists to work from home on content that had already been shot. John Miller, who served as a visual effects supervisor on the show, says FuseFX already had a pipeline in place that allowed artists to access the full pow- er of their studio workstations from home. I'm sure we will be seeing more of this type of post production in the months to come, so keep an eye on the pages of Post for additional examples of remote workflows. And visit postmagazine.com for regular updates on the latest work and technologies that are empow- ering content creators. 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