Issue link: https://digital.copcomm.com/i/1463
sound conform." Garrett says their process is pretty traditional for a film show, which benefits from the film look, film lenses, and Super 16's speed and por tability. Psych is shot on location in Vancouver with two cameras and posts down in LA. After waiting a day for the day's shoot to be processed and telecined,"every- one's able to view the dailies via an internal system at NBC Uni- versal called Dailies Plus the very next day," Garrett says. Psych's three editors, David Crabtree, Eric Jenkins and Dex- ter Adriano, get their hands on the DVCAMs in the morning two days after the shoot and then digitize the material into their Final Cut Pros. Psych offlines in standard def. Since they have 7TB of storage, Garrett's team brings in the footage at full DV resolution. "When you're wondering whether or not it's in focus, you're looking at a good-quality picture to make that judgment. Editorial wor ks in 23.98 fps, which matches "exactly back to our master s, to-the- frame , ever y single time ." Their FCPs use Blackmagic cards that remove 3:2 pull- down during digitizing. Psych onlines in Final Cut HD. "Any repositionings or speed-ups or changes to the picture, we online on a Final Cut Pro HD system," he says. Offline work "directly translates one-to-one over to online be- cause it's the exact same soft- ware, the exact same settings, and that way the editors' cre- ative input is carried across di- rectly. There's not as much in- terpretation as there used to be with online editors, where you have to match a blow-up, a speed change or a transition and you hope you get it cor- rect. Our method is an exact match every time." "Sean Vision" is the effect you see when the show's hero zeros in on a small-but-crucial www.postmagazine.com October 2008 • Post 33 continued on page 60