Spring 2015

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41 SPRING 2015 / CINEMONTAGE an intimate understanding of editorial. "We will actually block things out together," Charson explains. "And sometimes, while still in dailies, he will express his vision for the sequence. After that, we bring in our executives to integrate their notes on the material, and get the footage out the door to our artists." Moos elaborates that editing teams will freely create temporary effects. He and the visual effects department will then coordinate between editorial and the effects vendors to make sure any editorial changes are clearly translated at all levels. "We discuss what the editor's intention is regarding the look and timing of an effect, to ensure that the vendor understands this," Moos explains. "Additionally, as we are going through the show, locating effects and pulling shots, the assistants do a good job at communicating with us when something in the cut has changed, which we then must evaluate and either tell the vendor to change, stop or add work. Once a show is locked, visual effects takes more control of the show; however, tracking the show up until that point is critical, since any missed or changed effect could result in not being able to air on time." The editorial team also plays a key role in laying down templates for the rest of the post chain in the category of audio effects. Charson says the show's editorial infrastructure allows the editors to create full, temp sound beds and effects, and to collaborate closely with the sound department on specialized sound effects. In fact, MacFarlane relates, "Sound is a huge part of our job, and a lot of times we are creating sounds that don't exist in the real world, so it takes time and involves a lot of layering." Her colleague Pierce calls this work the creation of "soundscapes during the offline stages to help tell the story to the audience." Such combinations of elements make Agents of S.H.I.E.L.D. about as challenging a job for the three editing teams as there is in network television — but well worth it, as Charson emphasizes. "We're producing a show that is next to impossible to pull off on network TV," he claims. "Huge action sequences, mountains of visual effects and tight deadlines all add into that equation. Things can get a little ugly when our backs are up against airdates, but somehow we get it done. "For me, the thrill of working with these great writers and talented cast is incredibly exciting," Charson summarizes. "And it helps me manage the stress!" f David Crabtree. Joshua Charson.

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