Issue link: https://digital.copcomm.com/i/1524965
www.postmagazine.com 17 POST JULY/AUG 2024 In addition to "Sound Mixing," "Production Design," "Casting" and "Choreography," the show is also Emmy nominated for "Directing" and "Picture Editing." "My editing style ended up being a really good fit for the show, and the producers brought me on to RuPaul's Drag Race Season 5," he recalls. "Since then, I've edited on the next eleven seasons of Drag Race and counting." The editing team has moved to a work-from- home set up, and Martin's system consists of an Avid NLE, running on a Mac, with two monitors. "One of the challenging aspects of this show is how every episode leans into a different style," he explains. "From sketch comedy, to musical, to de- sign challenge, to lip-sync battle, and this season, even a PowerPoint presentation. In every episode we're taking on that new style and putting a Drag Race spin on it. I think the show has evolved in lots of ways, but something interesting that we've been able to do, as more seasons of the show have aired, is be very self reflective. We're able to add lines and punctuate moments with things that peo- ple who have watched the shows over the years will pick up on. Some examples of this are punc- tuating moments of disappointment with the sad trombone sound effect we used in Season 15. Or not explaining what a split premiere is, and instead including a queen saying, 'Have you watched the show Tamar?' instead." Silo Keith Henderson edited Episodes 104 and 106 of Apple TV+'s Silo. The show stars Rebecca Ferguson, Common, Harriet Walter and Chinaza Uche, and tells the story of the last 10,000 people on Earth and their mile-deep home that protects them from the toxic world outside. Silo received Emmy nominations for its "Music Composition" and "Main Title Design." According to Henderson, he cut the show from his home in Los Angeles, though production took place on stages in London. "Our AP Ben Brafman was between time zones," he recalls. "VFX were being done by a couple of vendors, I believe. They were involved early since much of the world was added after the edit. We worked with a lot of blue screen and imagination. There were look books for some visual designs and previs artwork that we could reference. "We had a fully staffed post crew in London to manage scheduling and that is also where (editor) Asher (Thornton) and Hazel (Baillie) — the editor working on Episodes [1, 8 and 9] — were working. Dailies would get to Asher and he would confirm ev- erything was complete. He would folder out material for different episodes and prepare dailies for Hazel. At the end of his day he would synch to mirrored drives in the US, and we worked off of those." Henderson's assistant Alexis Seymour was in Texas, and would get a jump on the dailies. "Most days, I would have material to view when I woke," he recalls. "Cutting was through Jump, and screenings and work sessions were through Evercast. Zoom meet- ings were vital to help create continuity through the teams. Early on we tried to schedule at least one group meeting a week between London and US. Eventually we brought on a third editor, Jean Crupper. She was working here in the States, as well." Henderson says EPS supplied the gear and housed mirrored drives and all the emulators. "I had a very basic remote set-up," he recalls. "At home, I already had two 41-inch monitors for cutting, and a basic computer surround sound system, along with my laptop at my side for Zoom calls and other interruptions. The rental company supplied me with a Mac (desktop) tied directly to my home internet, and an additional client monitor that I used for full-screen playback." Project management was one challenge the editing team faced. "Asher set up my original project, since I was on from the beginning of photography," he explains. "When I started working with Alexis, chasing down cuts or sharing bins was cumbersome. I like my proj- ects to be episode specific, like an 'Episode 4' proj- ect, and within that I can have some folders where material from other shows can be found. Ultimately, I reverted to what I like, but it made for some confusion. This was also the first time I worked with Alexis, and we had to develop a rapport." Being remote, says Henderson, also took some getting used to. "I still hold onto a lot of how I worked before the pandemic, and many things have changed. I still like to have access to my lined script, which means we were updating a PDF to get something to re- semble what I am used to seeing." There were also challenges due to the nine-hour time difference. Still, Henderson describes Silo as a unique project. "VFX, sound design and music all played a huge role in the overall vibe of the series," he states. "Making sure we carried that across the series was vital." Shogun FX's Shōgun premiered back in February on both Hulu and FX. The 10-episode series is an adaptation of James Clavell's novel and is set in 1600s Japan at the dawn of a civil war. Maria Gonzales and Aika Miyake both served as editors on the series, which is nominated for multiple Emmys. They worked on PC- based Avid Media Composer (2018) systems. "We used Parsec to access the drives in a server room our vendor kept in Hollywood," Gonzalez explains. "This allowed us to access the server whether we were working from our respective homes or our cutting room in South Pasadena. For remote col- laboration with directors and producers, we used Evercast." The Crown In Season 6 of Netflix's The Crown, a rela- tionship blossoms between Princess Diana and Dodi Fayed before their deadly car crash. And as the Queen she reaches her Golden Jubilee, she reflects on the future of the monarchy. The show is nominated in several categories, including "Directing," "Cinematography" and "Production Design." Simon Brasse served as editor on Episode 3 ("Dis Moi Oui") and Episode 5 ("Willsmania"). "The editing took place, in part at home during the shoot, using Salon Sync tech- nology to link my home edit suite to the shared storage used by the whole team and The Crown cutting rooms in Soho, Central London," says Brasse. Keith Henderson Silo