Post Magazine

October 2013

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Posting TV Series Perfecting workflows for primetime content. By Christine Bunish Posting episodic television is a complex process. From on-set color and data management to the creative cut and final color correction, workflows must run smoothly and seamlessly. Editors, colorists and DPs share with Post their unique perspectives on how TV series get from the camera to the viewing platform of choice for today's audiences. LONGMIRE Editor Adam Bluming, who cuts the A&E western mystery series, Longmire, has an enviable gig. "I've worked on shows where the story had to be made in editorial. I've had to manufacture what wasn't shot or performances that weren't there," Bluming recalls (; "But with Longmire, the scripts are so well written and acted that they translate beautifully to editorial. "But all shows tend to run long at first. If I could let the long version of scenes air, they would certainly be good, but it's when you have to start removing things for time that you get into the really fun moments: creating a bridge here or there story-wise and creating more visually dynamic filmmaking than initially intended — and with a style that could only be thought up while in editorial." NBC's Blacklist shoots with Sony F55s and follows a 4K workflow at Colorworks in Culver City, CA. 16 Post • October 2013

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