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CHANNELING TV'S NEWEST SHOWS www.postmagazine.com 26 POST OCTOBER 2015 Assets from the digital city are used for set extensions so "we can open up and track" the action. "It's nice to be really flexible about how to put Supergirl in those scenes; it also gives the DPs a chance to give her a nice golden hour look on greenscreen that we can match and use to integrate her into the scenes." Even a bit of Krypton has been seen on the show. "We built her home planet in 3D and comp'ed it into shots with a plate or a complete 3D rendering we fly through," Kevorkian explains. A lot of 3D fire and smoke is also craft- ed in close collaboration with the special effects department. "We try to have SFX give us the hit so we have something grounded in the real world," he notes. "Marrying SFX and VFX gives the best look." More destruction simulations are expected as the season gets underway. QUANTICO ABC's Quantico follows a group of recruits at the FBI Training Academy in Quantico, VA, with flashbacks that explore their pre-academy lives and flash forwards that reveal one of the recruits is a suspected terrorist mastermind. After the show's pilot was shot in Atlanta and New York, series production moved to Montreal and New York. Mon- treal doubles for Quantico, New York and locations ranging from Texas to Oakland featured in the characters' backstories. Production and editorial offices are at Broadway Stages in Brooklyn; Technicol- or-PostWorks does the picture finishing and Harbor Picture Company the audio post — both are in Manhattan. Head of post production Billy Redner previously worked on ABC's Resurrec- tion, TNT's Monday Mornings and NBC's Harry's Law. Post for Quantico follows the standard workflow of today's "file- based world," he says. "There's a DIT and data wrangler on set in Montreal. The DIT sets a look with DP Anastas Michos, ASC, and establishes dailies color; dailies processing and audio sync is done at Technicolor in Montreal and MXF media and the Avid bins are uploaded overnight to our Brooklyn ed- itorial offices via a secure Disney Aspera connection," Redner explains. In New York the files are automatically pulled into the download system using Cargo Downloader; four editors and four assistants cut separate episodes in DNx- HD 115 on Avid Media Composers with shared Avid ISIS storage. "Once you get the dailies workflow established, it becomes a pretty stan- dard file-based system," says Redner. "The key is that you need a large amount of bandwidth to transfer the amount of footage we do every night. We have a 100Mb pipeline to transfer our files. We receive between 300 and 600 gigs of dailies footage each day, so we're constantly filling the pipeline with data. If we're not downloading dailies, we're uploading files to visual effects and sound vendors who need to work with them." The series, which shoots on Arri Alexa, has "a very realistic look, with subtle color variations in the flash- backs and flash forwards," Redner notes. "There's a lot of nuance to the characters' stories; the characters are very multilayered and everybody has a secret. One of the advantages to working in Brooklyn is the proximity of the editors and creative producers/ writers. It's very easy for an editor to talk to [creator] Josh Safran and get his feedback on material." Editors temp in VFX or cut in final VFX created by Zoic Studios and Montreal's Digital Dimension, which range from explosions to green- screen composites. Once an episode is locked, Techni- color-PostWorks colorist John Crowley, working on a FilmLight Baselight sys- tem, teams with the DP on final color. Mike Nuget does the online conform on Avid. One area where the show is very "stylized" is its use of music, Redner says. "The original score is written by Joel J. Richard, but Josh Safran is creating a unique style with unknown breakout needledrop music that will bookend each show." At press time, Harbor Picture Company was perform- ing the final mix for the pilot. ABC's Quantico is shot on Arri Alexas and edited in Avid Media Composer.