Issue link: https://digital.copcomm.com/i/17668
Digital Acquisition wood.There the files are down- loaded and put onto a drive and taken to editorial. “When we shoot with the EX3, we need to do an addi- tional step before telecine,” she notes. “The footage needs to be converted through File- Maker Pro and then laid off onto HDCAM masters before it is telecined. If the footage is being used for playback, then it can be converted to Quick- Times and sent directly to our playback people in production.” She notes that the TPN lines eliminate the need to FedEx media from coast to coast. USA’s White Collar shoots in New York but goes to LA for post. “We upgraded to the F35 this season,” says co-producer Keira Morrisette. “At wrap each day we send our footage to our lab at Technicolor New York for a midnight telecine session.The HDCAM camera mas- ters and sound files are used to create our HDCAM master dailies reels. From there dailies tapes are made along with a standard def DVCAM that is digitized so ALE files can be sent via a TPN line to Technicolor Holly- “They get dailies by 9:30am in Los Angeles. It’s a great method for shows that post in LA and shoot elsewhere.” In LA, editors working on Avid Meridiens at the White Collar post production offices cut and lock the shows.Then Technicolor does the online on a Symphony and color cor- rection with a DaVinci. Most of the VFX are done at Modern Videofilm, but the show has also tapped Stargate and Technicolor. “It’s a pretty conventional path with a standard timeline based on airdate sched- ules,” Morrisette explains. All audio post is done at Larson Studios in Los Angeles;New York ADR is performed at Soundtrack NY. “With the ADR in New York, instead of a traditional ISDN line we do a phone patch using a Pro Tools system at Larson so we can follow along with the session in New York,” says Morrisette. “That allows me to still supervise the session and have a rela- tionship with the actors as if we were all in the same city. I started using that process with Harper’s Island, which shot in Vancouver, and it worked really well. So last year I began doing it with White Collar.” She points out that the show tries to use as much production audio as possible, loop- ing primarily for the inevitable noise on the streets of New York and to add lines that have been written during post. “Production sound mixer Matthew Price and his team are amazing — they’re why we manage to keep most of the production sound they capture.” DETROIT 1-8-7 DP Lisa Wiegand is shooting the new The World’s Fastest USB 3.0 & FireWire 800 Drive for Mac… …and PC too! www.CalDigit.com/AVDrive 24 Post • October 2010 www.postmagazine.com