Issue link: https://digital.copcomm.com/i/1524965
www.postmagazine.com 16 POST JULY/AUG 2024 emotional connection between the two char- acters. The actors make it easy, but I like to think that the sculpting that I do, with the help of our outstanding composer, Siddhartha Khosla, adds to it." Ripley In Netflix's Ripley, Andrew Scott plays Tom Ripley, a grifter who's scraping by in early 1960s New York. Ripley is hired by a wealthy man to travel to Italy to try to convince his son to return home. But his acceptance of the job is the first step into a complex life of deceit, fraud and murder. The lim- ited series drama is based on Patricia Highsmith's bestselling Tom Ripley novels. In addition to Andrew Scott, the series features Dakota Fanning as Marge Sherwood and Johnny Flynn as Dickie Greenleaf. Additional cast includes Eliot Sumner, Maurizio Lombardi, Margherita Buy, John Malkovich, Kenneth Lonergan and Ann Cusack. All eight episodes were directed and written by Steven Zaillian. The series was edited by Joshua Raymond Lee and David O. Rogers. The show is in contention in the "Supporting Actress," "Limited or Anthology Series," "Sound Editing," "Visual Effects" and "Writing" categories. "We were both responsible for shaping the per- formances, pace and tone of the series with writer/ director Steve Zaillian over the course of almost two years of post production," Lee recalls. "Steve is an uncompromising director, and his collaboration with cinematographer Robert Elswit yielded an embar- rassment of riches in terms of style and coverage." According to Lee, the series was very demand- ing in terms of the director's expectations from the sound, music and visual effects departments. "We began collaborating closely with all of them from the very beginning of post," Lee notes. "This cultivated a very cohesive sensibility among all members of the post crew." The pair cut on Avid editing systems. "We were using a pretty old version of Avid," Lee recalls. "Version 2018, because production began all the way back in 2021. We did almost all of our temp VFX work in Avid." For Lee, the series' murder scenes were the most interesting and rewarding to cut. "Both of those scenes are essentially 30-minute silent films that land by surprise in the middle of the normal flow of the narrative," he notes. "The tension in editing those scenes was between feel- ing close enough to Tom emotionally that we were able to follow his every thought, while simultane- ously continuing to move the narrative forward so that Tom's actions could take place in 30 minutes of screen time, rather than the five or six hours that they actually would have taken." Rogers adds that the two editors really felt like part of the larger collaboration, which included sound, music and VFX. "Ripley had all of these elements in play all the time, and Steve created an environment that allowed for careful — maybe obsessive — attention to every detail," Rogers notes. "The incredible cine- matography made every scene a pleasure to work on, but I particularly enjoyed putting together the sequence in Episode 3, when Tom gets the letter from Mr. Greenleaf, tries to steal Dickie's letter and then follows him through the cavernous stairways of Atrani. This sequence is where everything falls apart for Tom, and we used sound, source music, score and VFX to get it all to land just right." RuPaul's Drag Race The reality show RuPaul's Drag Race challenges drag queens to compete in challenges to impress the show's host, RuPaul. Each episode consists of a main challenge, along with a form of performance or fash- ion design. The queens then participate in a themed runway show, where one is declared the winner. RuPaul's Drag Race initially broadcast on Logo and then VH1 before ultimately landing on MTV. Editor Jamie Martin has been working on the show since 2012, when he was hired by production com- pany World of Wonder to be an editor on RuPaul's Drag Race All Stars Season 1. Lessons in Chemistry Apple TV+'s Lessons in Chemistry is set in the 1950s, where Elizabeth Zott dreams of being a scientist, only to be restricted by a society that believes women better serve in domestic roles. Jason Oldak served as direc- tor of photography (Episodes 3, 4, 7, 8) of the limited series, which is nominated in the "Cinematography" category. "We photographed the series on the Arri Mini LF camera system, along with TLS Canon K35 lenses," Oldak recalls. "We shot in Arriraw framing for 2.2:1 inside of 4.5K, 3:2 full sensor. I love the Arri camera, and its color science does seem to react slightly better to skin tones and has a softness to the image." Sugar Apple TV+'s Sugar stars Colin Farrell as John Sugar, an American private investigator, who is trying to uncover the disappearance of the granddaughter of a legendary Hollywood producer. Richard Rutkowski served as di- rector of photography on Episodes 103, 104 and 107 for the series, which is nominated in the "Cinematography" category. "Testing beforehand led to working with the Sony Venice 2 and Venice 1 out of Panavision Woodland Hills, along with a mix of PanaSpeed primes and lightweight Panazooms," Rutkowski recalls. "The expo- sure latitude was a big factor, especially be- ing able to bring back detail in overexposed areas of the frame." Rutkowski adds that Venice's Rialto mode gave him the flexibly to move handheld through scenes or around performers in specific setups. Joshua Raymond Lee Ripley RuPaul's Drag Race