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POSTING EPISODIC TV www.postmagazine.com 23 POST OCTOBER 2016 Winkelmann performs the dailies color correction. The synched Avid DNx 36 files are sent via Aspera to LA, where editors Mark Manos and Thomas Mitchell cut in HD on Avid Media Composers V.8.4 with Avid ISIS shared storage. They're up and running the day after Winkelmann com- pletes the dailies. "We don't feel the distance at all," Tassler reports. "I've spent seven years with Hawaii Five-0 — a show shot in Hawaii and posted in LA, so I've been able to make that my template for MacGyver." The editors tap Sapphire and Boris FX to add different grain patterns and enhance the looks of the international locations, all shot in the Atlanta area. Executive producer Peter M. Lenkov, with whom Tassler works on Hawaii Five-0, works closely with the editors. "Peter is a very savvy about the post process," Tassler says. "He'll sit with the editors and talk about what he wants to see, how to convey the mood and vibe of where in the world MacGyver is in any given episode. We do a lot of research with reference footage to make sure our color palettes are true to the location — Atlanta doubling for Prague, Venezuela, Brazil, the Philippines — so we no longer feel we're at home." Ideally, the director will also spend time with the editors on the director's cut, but this is often done remotely for reasons of time. Assistant editor Scott Little is dedicated to managing the show's large number of visual effects shots created by Encore VFX and RapidVFX. "We had 360 VFX shots in the first episode, from signage to more complex sequences," Tassler explains. Online editor Diana Cruz Hiatt con- forms the show on Avid Nitris at Encore Hollywood, where colorist Laura Jans Fazio grades on FilmLight Baselight. Adam Sawelson and Kurt Kassulke mix the series at Technicolor Sound; Kelly Cabral is the sound supervisor. The series fea- tures a substantial amount of music, which is often used to "flavor" the international locations, Tassler notes. Each locale has its own soundscape, with appropriate vehicle noises and sirens, too. Atlanta's own summer soundscape of loudly chirping cicadas could betray the show's real location, so audio post has "learned how to dial them out and mask them with certain sound beds," Tassler reveals. The first episode of MacGyver was the most-watched show in its Friday-night time slot in 14 years. TIMELESS When a villain steals a time machine in order to change the course of American history and destroy the country, a history professor, a scientist and a soldier travel back in time to catch him on the new NBC series, Timeless. Each episode visits a different era and location, so apart from a continuing contemporary thread, the shows have a distinctive look from week to week. The pilot took our heroes back to the airship Hindenburg disaster in New Jersey in 1937, and the second episode found them in Washington, D.C., right before Lincoln's assassination. Timeless is shot in Vancouver and largely posted in Los Angeles. The pilot was shot in 4K on Red's Dragon; subse- quent episodes are shot in 4K on the Sony F55 camera. The extensive VFX required to recreate the historical time periods are produced by the LA and Vancouver offic- es of FuseFX and Zoic Studios. "Post production for Timeless is typical of other network dramas," says Cynthia Stegner, senior vice president of post production and VFX at Sony Pictures Television. "But, due to the amount of VFX, we have to allow extra NBC's Timeless