Issue link: http://digital.copcomm.com/i/1545302
www.postmagazine.com 34 POST MAY/JUNE 2026 WORKFLOW hen people think about post pro- duction, they often think about what happens after the cameras stop rolling: schedules, turnovers, notes, finish- ing, delivery. In reality, on the right proj- ect, post starts much earlier. On Season 2 of HBO's It's Florida, Man, our workflow had to be built around that exact idea. The show has a unique format. We shoot documentary material first in Florida during the spring, then months later, shoot cinematic recreations during the fall. That means editorial is building episodes around footage that does not yet exist. You are shaping stories, pacing scenes and identi- fying emotional beats while knowing major visual components are still to come. That challenge became our opportu- nity. Rather than treat the split schedule as a limitation, we built a workflow that allowed multiple departments to move in parallel and stay creatively connected throughout the process. This included using LucidLink, Mimiq for Avid and DaVinci Resolve. Working alongside the team at Cuttingboard (www.cuttingboard.tv), we created a fully cloud-based editorial pipeline using LucidLink. The goal was simple: Remove delays, keep momentum high and let the creative team focus on story rather than logistics. Traditionally, productions can lose valuable time waiting for drives to be shipped, cloned, checked and ingested before editors can begin. On a fast-mov- ing series, those days matter. We wanted editors cutting as quickly as possible. Our DIT team in the field would transcode proxy media in DNxLB (low bandwidth) and upload it directly into the shared environment. Editors and as- sistant editors could then access footage almost immediately from wherever they were based. In many cases, we were op- erational within 24 hours of footage leav- ing location. We also maintained shuttle drive redundancies containing original camera material (OCM) and transcodes in case connectivity slowed or uploads were interrupted. That speed changed everything. Edit- orial could begin shaping scenes within 24 hours, as long as assistant editors orga- nized bins, producers reviewed story prog- ress and technical teams prepared the next stage of the pipeline. If an episode needed extra support, we could bring in another editor or assistant quickly, remotely, any- where in the world, without rebuilding the system. People often overlook the teams that step in for finishing, color, music, VFX, titles, etc. All utilized the cloud-based sys- tem in some way that could be personal- ized to their needs. For a show like this, flexibility was critical. The documentary portion of each episode had to stand on its own before recreations were ever shot. Our editors would cut scenes using black slates and text cards placed exactly where future recreations would land. These were not rough placeholders. They represented precise beats in the storytelling rhythm. If the episode played emotionally and structurally with those gaps in place, we knew the foundation was strong. The recreations then had a clear purpose. They were there to elevate the story, not rescue it. That discipline came from our creative leadership. Director Jeff Tomsic and lead editor Josh Crockett were excellent at constantly asking whether a recreation moment was truly necessary. Because the recreation schedule was compressed, every scene had to earn its place. From a workflow standpoint, that meant communication was everything. We maintained clear calendars, regular check-ins, tracked notes and has con- sistent status updates across editorial, production, finishing, sound and delivery. Remote systems only work when the people inside them know exactly where the project stands. Technology supports the process, but it does not replace the team and our superb leaders. Another major advantage of the cloud model was access to talent. Geography became less of a barrier. If we needed an additional editor, an additional assistant editor or support on a difficult sequence, we could scale intelligently. The best person for the task did not need to be sitting in one physical building. That is where I believe our industry continues to evolve. Post production is no longer just the final stop. It can be a creative engine that informs produc- tion decisions, schedule planning and storytelling choices from day one. When editorial systems are designed early, pro- ductions become more efficient and the final product often becomes stronger. Something very complex can become surprisingly simple when the right work- flow is built around it. That has always in- terested me most. Not technology for the sake of technology, but systems that allow talented people to do their best work. Season 2 of It's Florida, Man proved that remote collaboration, fast access and strong communication can power a demanding series without sacrificing creativity. In many ways, it felt closer to live production than traditional post: con- stant movement, constant decisions and a team pushing together toward air. And when the episode finally delivers, there is still that same rush. The one you get in sports or performance, when everything comes together at the right moment. That part of the workflow never changes. IT'S FLORIDA, MAN BY BENJAMIN SOUTH POST PRODUCER BEN@SOUTHROY.COM BUILDING THE HBO SERIES' CLOUD-BASED POST PIPELINE W The show's cloud pipeline allowed editors to come on board, regardless of location.