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 (www.adambluming.com;
www.nelafilms.com). "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
www.postmagazine.com
