Issue link: http://digital.copcomm.com/i/335006
35 JUL-AUG 14 / CINEMONTAGE thing with all the scenes. Once we have brought everything in and consolidated it, we highlight the clips, right-click on source settings and add the LUT to that scene." This shaves off a few hours of work from the overall workflow process. Plus, there's no guesswork on the part of the assistants, according to Robertson, who adds, "It comes straight from the DP and we know exactly what color he's looking for." Silverman, who works with Robertson, observes, "I don't feel like I'm working with substandard material by any means. When we first started the show, it was a little rough of course, and it took a bit of time to get everyone rolling. But it's pretty well-oiled at this point." The next step is to sync picture and sound. "You will lasso your picture and sound clips and select auto sync," explains Robertson. "You can sync by time code, and if sound and picture time code match, then it will sync flawlessly. Occasionally it doesn't, and we go in and sync those dailies the old-fashioned way by listening for the clap and viewing the slate." After applying color and syncing the clips, it becomes more like a typical television workflow. Usually when assistants receive dailies from a lab, they have been colored, synched and labeled with the scene and take number. The circled takes have been separated from the non-circled ones. The lab also provides dailies on DVDs that are distributed to the studio and producers. "If a lab did the work, they would just give us a drive with dailies," adds Smith Holley. "We'd drag them into a bin, the bin would be all set and the editors would be cutting away." With this workflow, editors receive dailies that have been logged, synced and color-corrected by the assistants. "It's different from a lot of the more traditional network shows," comments Weinstein. "Which is really neat, because if production is worried a scene didn't translate, we can actually watch it right away." On the backend, The Fosters goes to a colorist for color correction, but it isn't sent out to online. But to Angeline, working with DNX 175x high-resolution QuickTime files, it's basically like cutting online. "If we were up-rezzing, then we would be technically onlining," she says. The process involves preparing the show for turnovers to sound effects editors, the music supervisor, the music editor and the composer. The assistants are also responsible for backing Clockwise from bottom left: Sandra Angeline, Debra Weinstein, Michael Jablow, Peter Paige, Sharon Smith Holley, Sharon Silverman and Meghan Robertson. CineMontage_Jul-Aug_14-4.indd 35 6/18/14 5:51 PM