Issue link: http://digital.copcomm.com/i/600849
44 CINEMONTAGE / FALL 2015 Dailies are usually ready for pickup at 8 o'clock each morning, and the post PA delivers them to the assistant editors with camera reports, sound reports, dailies logs and transfer reports. Picture and sound have already been synched and digitized for the Avid with the DNX 36 Codec. "That allows us to use as little storage space as possible, while keeping image quality high," explains Siegel. Producers and studio/network executives watch dailies uploaded on DAX. Once they've verified that all the dailies have been properly transferred, editorial notifies the camera department so they can re-use the camera cards. "The lined script pages are sent by the script supervisor at the end of the shooting day," adds Siegel. "They use a program that gives editorial computer-generated notes — a more efficient system with less chance for delays." Since Rizzoli & Isles takes place in Boston, shots are often enhanced to include that city's skyline, according to Siegel. "Although production tries to shoot around them, we also have palm trees that need to be removed, and numerous monitors in the Boston Police Department set that need to be composited with elements after the scene is shot," he says. Co-producer Eve Watterson supplies the material for the monitors, and the editors and assistants prepare a reference QuickTime so they can begin tracking the footage and prepare for the final effects. "In this manner, the editors receive a temp version that will look close to the final for a studio and network cut," Siegel explains. Once the episode is locked, editorial provides a QuickTime to familiarize re-recording mixers Joe DeAngelis and Ken Kobett, CAS, and supervising sound editor Robb Navrides, at Technicolor Sound on the Paramount lot, with the show. "We discuss each episode in detail at a sound and music spotting session," says Siegel. "Any added lines are temp'd in by the post team in order to not only facilitate the locking, but to serve as a template for the final dub." Composer Levine and music editor Robbie Adams have received each version of the cut — from editor's cut to director and producer's cut, studio and network cut, and, finally, locked picture — which means they have already turned in most of the final music by the time the team is spotting music. "This allows the editors and producers to give notes on the composed score sooner than on many other shows," reports Siegel. Each episode is mixed for two days; playback is the afternoon of the second day and, in addition to the editor and writer, producers Nash and Prange give notes, which the mixers address before the final layback. "Having the sound facilities and Technicolor team immediately available to us is a big advantage," explains Siegel. "Additionally, being able to get the actors to and from the shooting stages to the ADR stage saves time and money and allows us to do so without any interruption to the shooting crew, often between scenes and set- ups. Our sound mixer on set, Todd Overton, has always done a marvelous job, along with the Technicolor team, so ADR is minimal compared to other shows." NBCUniversal Studio Post creates the final air file; the post producers address any last-minute fixes. Another way that Rizzoli & Isles stands out is the supportive atmosphere for assistants to move up. "This is a spring/summer-run show," says Luckey. "As we approach wrap dates, the executives have all been supportive of crewmembers taking fall jobs to stay employed year round. This reality opens up opportunities for assistants to move up to cut, and other editors to come in for an episode or two before the seasons wraps." Among the other "strong editors on the staff," Luckey mentions Phil Neel, Russell Denove, Regis Kimble, Keith Henderson and Troy Takaki, ACE, and other assistants, including Adam Tiller, Oscar Lozoya and Angie Luckey. And although it's usually cinematographers who get a chance to direct, on Rizzoli & Isles this year, Strand got an opportunity to direct Episode 16, due to air in February 2016. "I was fortunate enough to direct an episode this year," he says. "It's incredibly exciting. I wouldn't have been able to do it if I didn't have access to the set and crew, and was able to walk over to communicate with them and develop a good relationship. People were very comfortable with me because of that. It's nice to be in a broader family of an entire crew rather than being part of a satellite crew." Luckey agrees. "Shows that run this long are a rarity," he says. "And I have enjoyed being with Rizzoli & Isles from the start. The cast and crew are all responsible for its success." f Lance Luckey.